Arts BACKBONE Volume 14: Issue 2, December 2014/January 2015 Welcome On Art and Caring for Indigenous Knowledge ANKAAA Board of Directors 2015 - 2016 by Djambawa Marawili AM, ANKAAA Chairman

Darwin Office As an Indigenous artist and cultural leader As homeland and community people living GPO BOX 2152, DARWIN living in my homeland on ancestral independently on our country, we feel NORTHERN TERRITORY, AUSTRALIA 0801 country in northern Australia, I speak for confident and happy and strong. There are Frogs Hollow Centre for the Arts 56 McMinn Street, Darwin my own and other homeland communities no drugs or bad influences coming into our Ph +61 (0) 8 8981 6134 to remind people we are the knowledge lives while we are living on the Country. Fax +61 (0) 8 8981 6048 holders and caretakers of this Country. And we are also building skills to live in the Email [email protected] mainstream world. www.ankaaa.org.au In our regions, on our Country, we are the www.aboriginalart.org www.facebook.com.au/ANKAAA. people who can speak for this land and We especially want government to aboriginal.artists sea. With our internationally recognised understand it is important not to force us to Australian Indigenous arts industry; leave our countries again and instead to The Association of Northern Kimberley and Arnhem Aboriginal Artists, Aboriginal Corporation (ANKAAA) ranger programs; and many developing support us. We were already taken away is the peak body for Aboriginal artists and 48 Indigenous businesses on Country - like once to live on missions, and we walked Aboriginal owned community Art Centres in: the Kimberley, Arnhem Land, Tiwi Islands and Katherine cultural tourism, fishing initiatives and back to country to rebuild our knowledge /Darwin regions of Northern Australia. ANKAAA is business products such as bush food, and culture. a fully Indigenous governed not-for-profit Aboriginal medicines and furniture production; we can Corporation. Founded in 2007, ANKAAA is We wish government could understand that Australia’s first peak body for Indigenous art. draw on our deep and living knowledge of we are much stronger and can be much This publication may contain the names of country and culture and be experts. Aboriginal people who have passed away. more productive living on Country than living All text and images are copyright of the artist, We are the archeologists and elsewhere. And to work with us patiently, to Art Centres or ANKAAA (as indicated) unless anthropologists. Our elders are passing support us in further developing skills needed to otherwise stated. on traditional knowledge in ‘Yolngu’ build businesses and jobs here. ANKAAA Arts Backbone is © ANKAAA. The views and opinions expressed in this publication are those and ancient Indigenous languages and The community Art Centre network across of the authors and do not necessarily reflect those university systems, which are still strong Australia is an outstanding example of of ANKAAA. and real and rolling on. contemporary Indigenous agency. Our Editor: Christina Davidson I urge the government and wider inherited patterns and designs are our Issue Coordination: Anisha Stitfold Australia to respect our Indigenous identity and also: a ‘talking stick’, title Cover Image: Cornelia Tipuamantumirri, Jilamara Design, 180cm x 150cm, Ochre on cultural knowledge base as an asset of deed, weapon, and means of economic Linen 2014 inestimable value for Australia and the empowerment. Photo: Munupi Art world: for building strong and healthy Please join to walk with us. ANKAAA is proudly supported by: livelihoods for my peoples; fostering Djambawa Marwili AM effective empowered participation in the Yilpara/Baniyla Homeland, North East Arnhem Land. mainstream; and as the foundation of the acclaimed Indigenous art movement.

The time is really short now for Australia to support us in caring for these invaluable traditions needed by coming generations, before it’s too late and they are lost. Our dynamic contemporary northern art is grounded in this knowledge, which Australia has turned ANKAAA Chairman, Djambawa Marawili AM (right) is presented with a kurtal (sacred snake spirit) away from for too long. dance totem by Mr Nagarralji Tommy May, ANKAAA Chairman 1990’s on October 8 2014 at We want Australians to properly Mangkaja Arts, Fitzroy Crossing, Central Kimberley.

understand that our traditionally grounded The gift acknowledges continuity of strong Indigenous contemporary art is not principally leadership within ANKAAA; and the foundation of dynamic contemporary northern art in traditional about beautiful objects; but with ancient knowledge and connection to ancestoral Country. patterns and designs, shares our living This important meeting of leaders paid testament to ancestral understanding and specific ANKAAA’s commitment since 1987 to ‘working connection to Country. together’ at a grass roots level - across diverse regions, language groups and Indigenous cultures - ‘to keep art, culture and country strong’ (see p.21).

2 ARTS BACKBONE – ANKAAA Volume 14: Issue 2, December 2014/January 2015 Volume 14: Issue 2, December 2014/January 2015 ANKAAA BOARD – ARTS BACKBONE 3 Mangkaja Arts, Fitzroy Crossing, WA Cornelia Pilmirrapayu Tipumantimirri By Terry Murray and Belinda Cook, Board Chair and Manager Mangkaja Arts By Jedda Puruntatameri, Board Chair Munupi Art, ANKAAA Director

Lisa Uhl retained her rising star status, exhibiting with Suzanne O’Connell Gallery, Brisbane, and Gallery Gabrielle Pizzi, Melbourne. While a suite of new prints were created in workshops with Basil Hall Editions and the Australian Print Workshop, supported by ANKAAA.

There were a number of Back to Country trips working with Fitzroy Valley organisations to create works and address community issues, including suicide prevention training, men’s health and the transference of culture to younger generations.

A highlight for the year was a Mangkaja led trip back to country in the Great Sandy Desert. It had been seven years since the last visit to the site of Kurtal and some very senior artists travelled by helicopter to meet young family members who made the trek by car down the Daisy Japulija, Mr Missions, 120cm x120cm, Acrylic on Canvas, Most Outstanding Work, Port Hedland Art Award 2014 Canning Stock Route. This was an Photo: Mangkaja Arts important evidence-gathering trip for the native title claim for the area, involving Mangkaja Arts Resource Agency, exhibitions. Amy Nugget exhibited at Ngurrara rangers and the Central Aboriginal Corporation is a vibrant the Central Institute of Technology, Perth Desert Native Title Services. There was Cornelia in front of her painting, Winga (Tidal Movements/Waves)160cm x100cm ochre on linen Photo: James Courtney © Munupi Art Aboriginal owned Art Centre in the with accompanying book ‘Ngurntakura vital transference of cultural rules to the township of Fitzroy Crossing in the Wangki: Amy’s Story’ (by Annette Puruta younger generations and maintenance of Cornelia Tipumantimirri is a senior holiday to Garden Point on Melville Island. Cornelia walked into Munupi Art Centre Kimberley, Western Australia. Mangkaja, Wayawu Kogolo, Marminjiya Joy the site. Tiwi artist from Munupi Art at Garden wanting to paint on canvas in 2010. She meaning wet weather shelter, was Nuggett and Sandy Toussaint). And Dolly Point Community, Melville Island. Her Her parents worked for the Garden Point is an elder who has taken over the art established in the late 1980’s by a Snell’s work was shown at Outstation Mangkaja’s focus for 2015 is to continue painting, Jilamara Design, exhibited Mission, looking after the farm, planting industry like a wild storm. She paints the small group of artists to support cultural, Gallery, Darwin, with catalogue Kurtal building on community partnerships and during the annual Tiwi Art Network and tending the land. land and sea from her beautiful Munupi social and economic development. - New work (www.outstation.com.au/ running projects that engage young show in Darwin is the cover of this country. Every painting tells a story with It has a strong governance system, exhibitions/2014/kurtal-new-work- people in their culture and community, publication. Munupi Arts’ Board She married Stephen a connection to the land working with cultural governance and the dolly-jukuja-snell). Sonia Kurarra was utilising new media and animation as Chair, and ANKAAA Director, Jedda Tipumantimirri and ‘Pili ngawa ampi putuwurupura and sea. Cornelia has western business model and represents also in high demand exhibiting with well as more traditional mediums to share Puruntatameri tells Cornelia’s story. had a daughter, ngini ngawula ngirramini’. Our a strong bond to the artists across four language groups – Aboriginal and Pacific Art, Sydney, stories and artworks. Dolores. She is stories were given to us from the waters surrounding the Bunuba and Gooniyandi of martuwarra Gallery Gabrielle Pizzi, Melbourne and Under the guardians of the mission, blessed with three old people and are connected Tiwi Islands, forged by a (river country) and Walmajarri and Singapore’s Red Dot Gallery. We welcome everyone to come and visit Cornelia grew up on Bathurst Island. grandchildren with songs from the dreamtime. lifetime of memories living Wangkajunga from the jilji (sand-hill us in our artist studio in Fitzroy Crossing. She went to school under the old and a lot of great Cornelia Tipumantimirri encircled within the tides country of the Great Sandy Desert). mission church and was given a slate grandchildren. of the Arafura Sea. Kurtal Trip Convoy Participants Photo: Paul Ellito 2014 and chalk. Salvation came in the form Mangkaja’s 2014 exhibition program of the Catholic nuns. She lived in a Cornelia has a son whom she and If you are visiting Munupi Art Centre, come was busy with artworks acquired by dormitory with the other Tiwi girls. Stephen looked after at Garden Point and see Cornelia smiling all the time. significant collections. Daisy Japulija won She was never allowed to speak her Mission. His name is H. Wilson Senior the Most Outstanding Work at the Port language or practice our culture. from Peppimenarti. This family has visited ‘Ngawarraya Mangi Munupi Hedland Art Award. And two senior her from time to time. Their friendship will Murrakupuni’. Let’s look after our Walmajarri artists held their first solo She went with her parents every bush last a lifetime. Munupi Country.

4 ARTS BACKBONE – ART CENTRE FEATURE Volume 14: Issue 2, December 2014/January 2015 Volume 14: Issue 2, December 2014/January 2015 ARTIST PROFILE – ARTS BACKBONE 5 Primavera 2014: Young Australian Artists Ngarrbek Museum of Contemporary Art, Sydney By Robyn Nabegeyo, Injalak Arts By Mikala Dwyer, Curator / Artist

ANKAAA is pleased to have supported Primavera’s guest curator Mikala Dwyer’s visit to North Australia, and is delighted Ishmael Marika, Barayuwa Munungurr and Alison Puruntatameri were included in this national celebration of emerging talent.

Primavera is an annual show for young artists under 35 from all over Australia. It was established in 1992 by patrons Ted and Cynthia Jackson whose daughter Belinda passed away when she was 29. Primavera became a living memorial to celebrate her life, creativity and youth, opening each year in Sydney’s spring, it celebrates new growth and new beginnings. Barayuwa Munungurr Gadawulkwulk , 2014 bark shelter, ceremonial pole (Larrakitj) and ironwood objects. Installation view, Primavera 2014, MCA, Australia. Photo: Alex Davies I was selected as the curator for this year’s exhibition at the MCA from September and I visited many people before arriving Ishmael Marika’s videos including his new Robyn Nabegeyo, Ngarrbek (Echidna), 84cm x 37cm, Pandanus (Pandanus Spiralis) and Bush Cane (Flagellaria Indica) with Natural Dyes to November. I am an artist and was in at the final selection of 14 artists. The and highly successful ‘Galka’ are ancient Photo: Injalak Arts and Crafts the first Primavera in 1992. It was a very most exciting places I visited were Melville stories passed through the contemporary exciting opportunity to be invited to curate Island, Yirrkala and Darwin. medium of video. Ishmael makes brilliant and travel in search of this years’ artists use of this medium to keep the stories Ngalbu ngarrbek ngalka mayh ngalkuken ngadberre.bu ngarringun. Korroko dabborrabbolk birrirey I only had a day at Munupi Art Centre protected and alive. kukak bu dird bolkwolkani. Wanjh birrikakrey duruk dorrengh birrirey birrikebkani duruk nomi on the Tiwi Islands but I was lucky to meet ngalbu ngarrbek wanjh birrinani birrimangi ngalbu ngarrbek birrikani kured. Minj birrirawinj Alison Puruntatameri. Alison’s natural ability It was a great honour to host Alison and bu dirdyak dja bu dird di wanjh birrirey birrikakdirdkani birriyawani ngalbu ngarrbek. and confidence in handling her legendary her aunty Alberta Puruntatameri in Sydney, grandfather Justin Puruntatameri’s designs while Ishmael and Barayuwa travelled The old people used to hunt Ngarrbek (echidnas) at nighttime, when the moon was shining. They would take dogs with are a great tribute to him. When standing with Will Stubbs and song man Jeffrey them and the dogs would smell Ngarrbek. And the old people would see her and get her and take her home. If in front of her work we are moved by Ngurruwuthun. We had a great time there was no moon they wouldn’t go, but if there was, they would go and look for Ngarrbek. Echidnas eat the spirit she can invoke, a profound with them, Ishmael, Barayuwa and Jeffrey termites and they are often painted entering a termite mound in search of food. Ngarrbek has the female connection to the earth and a knowledge sang, and played Didgeridoo and clap Yirridjdja moiety skin Ngalkangila. If she smells the campfire of a Nabulanj man, the right skin for across time that makes our science look sticks at a BBQ in our backyard with all her, she will pine after him, as she used to be a woman in the Dreamtime. very young. the artists present. It was a special night with a sense of people coming together Robyn Nabegeyo. Translation from the Kunwinjku by Danny Kennedy, At Yirrkala in North East Arnhem Land I from different worlds, black, white, north, Art and Cultural Officer at Injalak Arts, was introduced to Barayuwa Munungurr south, city, country. Gunbalanya, NT. and Ishmael Marika. Barayuwa made a shelter for the exhibition with a video component along with a Larrakitj (ceremonial pole), carved timber objects and four bark pieces. The shelter displays Robyn Nabegeyo’s ‘Ngarrbek’ fibre work, formed part of the group exhibition: Mayh, Body & Spirit in Kunwinjku Fibre Art, elegance and sophistication in the way that curated by Dr. Louise Hamby, at Aboriginal and Pacific Art gallery in Sydney during October and November 2014. it sits together so strongly without nails, just gravity. This work, placed in the middle of Master weaver and mentor, Ganbaladj Nabegeyo and Haley Bangarr, Melody Wood, Anniebell Marrngamarrnga and Marina the gallery, is the heart, the echo and an Murdilnga were the other artists in this group show. extraordinary testament to the knowledge Installation shot of Ishmael Marika’s short film Galka (2014), a short feature film about a Yolngu Alison Puruntatameri, Jilamara Design: Yoi, 2014, and survival of the first peoples. As Daniel Kennedy explains, the story of Ngarrbek, as with the stories of the other animals portrayed in the exhibition, tells the spiritual sorcerer with sinister powers. ochre on linen Photo: Munupi Art Photo: MCA, Australia ’connection between the physical proximity and religious immanence of animals in Kunwinjku culture’ .

6 ARTS BACKBONE – EXHIBITIONS Volume 14: Issue 2, December 2014/January 2015 Volume 14: Issue 2, December 2014/January 2015 EXHIBITIONS – ARTS BACKBONE 7 Garnkiny - Constellations of Meaning Warlayirti: The Art of Balgo RMIT Gallery, Melbourne RMIT Gallery, Melbourne & the Araluen Art Centre, Alice Springs By Anna Crane, Warmun Art Centre By Jimmy Tchooga, Board Chair, Warlayirti Artists

Warlayirti Artists, Balgo, is situated on the Luurnpa (Kingfisher) Dreaming Track in the Great Sandy Desert. Warlayirti is the collective name for all A multi-faceted project involving bush trips, the tribes of the Luurnpa Dreaming. Curated by Jaqueline Healy, Warlayirti: The Art of Balgo was on display at RMIT Gallery, Melbourne from 15 language recording and teaching, an September to 8 November 2014, before moving to the Araluen Art Centre in Alice Springs from 28 November 2014 to 15 February 2015. It was exhibition and a bilingual book, Garnkiny comprised of a collection of works and an accompanying 168 page page exhibition catalogue honouring the stories of Warlayirti artists past, present - Constellations of Meaning, explored and future. JJimmy Tchooga’s words are translated from Kukatja to English by Helen Nagomara and taken from the exhibition catalogue. the rich connections between Gija story, language and art making. People Want to Keep Their Culture Strong Ngaatja latjura wangkinpa Warlayirti Artists, ngaangka Garnkiny Ngarranggarni, the Moon puntuku Wirrimanujanu, laturaya mikurrinpa palurungka Dreaming story concerns the actions of the Culture Centre. Ngarltji ngaatja Warlayirti Art marrka. man of Joowoorroo skin, whose forbidden Warlayirti Artists marrka laltutjanu puntutjanu Kutjungka love for his mother–in-law and his travels yanamaya wakalanguya painting ngaangka. across vast areas of Gija country made Puntulunguya karnyilkuwa palurungkurnu Culture marrka; human beings mortal and laid down wakarninpa, wangkinpa tjanukurnu kamu kapalikurnu- serious tenets of Gija law and kinship. This kurralkajanu Tjukurrpa. Yungkuwa tjanampa palurunkurnu Mabel Juli, Garnkiny, 180cm x 120cm natural ochre and pigments on linen. story has been told and painted by some tjiitjikutu. Photo: Mark Ashkanasy of Warmun’s most respected living artists Yirnayirnaluya yingkala turlku katjiya wakalanguya. including Mabel Juli, Rusty Peters, Phyllis Yirnayirnalampaya marrka nyinakuwa.Karrkinpaya kamina Thomas, Patrick Mung Mung, Charlene kamu kulyarri nyinatiya palurunkurnungka kaparlingka Carrington and artists who have passed kamu waltjangka wakala Tjukurrpa. Watjalatjananya away such as Mick Jawalji, Hector Tjukurrpa, laltulaya puntulu kulilaya. Wakalanguya Jandany and Jack Britten. yunginpatjanampaya palurukurnu waltjakurnu kamu palurukurnu kapalikurnu. Warlayirtilampa marrka nyinakuwa; Focusing on this narrative senior artists kamina kamu kulyarriluya wakalakuwa. took their younger family members to Puntulungkuya culture kawarlininpa yukurilutjana watjapungin remote sites associated with the story and Ngurra ngaangka Wirrimanungha Warlayirtilutjana shared with them the intricate meanings tjungarni manin mikulatju marrka nyinakuwanpa, they hold about Gija kinship, country and Catalogue cover tjungarnilatju wanalkuwan wulu culture. Mikulatju ways of seeing the world. Recordings Kanyilkuwan tjiitjiku marlatjanuku. in Gija language of deceased elders were used in the Gija language teaching We’d like to tell you about Warlayirti Artists, how program at Warmun Art Centre and new all these people of Wirrimanu, how they feel about recordings with living speakers were their Art Centre. How the Warlayirti art is strong. archived and translated in the Media Lab. Warlayirti art is strong because a lot of people from Garnkiny: Constellations of Meaning, installation images, RMIT Gallery 2014. the Kutjungka region they come and do painting here. The project culminated in an exhibition of Photo: Mark Ashkanasy People want to keep their culture strong; doing ochre paintings and multimedia work at painting, doing story from their grandfather, RMIT Gallery, Melbourne, from September grandmother – Dreaming from long time. And they to November 2014. Old and new audio want to pass it on to their children. The old people, recordings brought the voices of the artists when they do their paintings, they sing when they’re and storytellers into the gallery next to their painting. The old people are very strong. Sometimes stunning paintings. the young people sit with grandmother or their families when they do their painting; they tell story The 112 page bilingual publication about it, all people listen. So they do their painting, has narratives in Gija and English, because they’re passing from their parents or their and essays by Ralph Juli, a Warmun grandparents. This is how Warlayirti Artists is strong; Art Centre arts worker and son of the young people are doing it. People are losing From left: Balgo artists Eric Moora, Larry Gundora and Jimmy Tchooga, Chair of Warlayirti Artists, in senior artist Mabel Juli and by linguists their country because of ganja on this community front of the newly restored Assembly Banners at exhibition opening, RMIT Gallery 2014. Photo: Vicki Frances Kofod, David Rose and Thomas but Warlayirti helps to keep us strong and put them Jones Photography. Banner on left from 1981 is the first ‘banner to be painted for the Balgo Hills Church Saunders. The catalogue is available on the right track again with the culture. Giving the and represents a number of different mythological sequences from the period of the dreaming. Each of from Warmun Art Centre. knowledge for the young ones. these was associated with persons living at the settlement.

8 ARTS BACKBONE – EXHIBITIONS Volume 14: Issue 2, December 2014/January 2015 Volume 14: Issue 2, December 2014/January 2015 EXHIBITIONS – ARTS BACKBONE 9 The Alluvial Plain: Karen Mills Engaging Youth in Creative Media Projects Art Worker Focus - Alcaston Gallery, Melbourne By Katie Breckon, Project Coordinator Archive & Media Centre, Rachael Umbagai, Mowanjum Arts By Karen Mills Mowanjum Arts

Karen Mills is a visual artist living in the Old People and the never ending Mowanjum Arts Archive & Media these young people will inherit, so it’s Darwin; she was an ANKAAA Director presence of Aboriginal culture and Centre was invited to present at the important we engage them early in from 1996 to 1999. Most recently history that survives in the land. The 2014 ANKAAA Annual Conference, creative projects that are guided by our Karen has been undertaking further sight of stone flakes scattered on the which gave us an excellent opportunity community elders. research about her family history and ground, exposed in the open, was clear to share our journey with people from all connections to country in the East evidence that Aboriginal people had over the Top End. Over the last few years the Media Kimberley region of Western Australia. lived there enjoying the abundance of team have developed creative fine art the creek for a very long time. A focus of our presentation was how photographs, taught camera skills to The inspiration for The Alluvial Plain is we engage youth in creative projects. staff and engaged young people as the desert landscape of Sturt Creek, All the work in this exhibition is made Community elders and serious painters models. Kids love being involved and Rachael Umbagai Photo: ANKAAA a major Creek system in the East with natural pigments. I like the simplicity express their fears for what they see feel confident and proud of themselves Rachael is a star graduate from the Karen Mills, Alluvial Plain, Graphite Gray, White Kimberley that flows into Paruku (Lake of making my own paint with dry will be the inevitable loss of cultural when they see the final image. There 2011 ANKAAA Art Worker Extension & Black, 2014 Natural pigments & PVA fixative Gregory) on the edge of the Great pigments, water and a binder. One knowledge if committed efforts are not are many very simple photographic Program (AWEP) and is now the Trainee on linen. Photo: Alcaston Gallery Sandy Desert. of the pigments is a white ochre from made to secure it for future generations. techniques that can be used to inspire Operations Manager at Mowanjum Art Darwin and is the unbleached, sandy They understand that without culture, the imaginations of children. We are and Culture Centre, Derby. When I was out on Country at Sturt colour that can be seen in the work. Mowanjum youth face losing their now planning to develop imagery from Creek Station, I thought deeply about identity and elders fear the repercussions dreamtime stories under guidance from Now participating in the AWEP this loss will have on their children’s the rightful storytellers. Graduate Program, Rachael wants to health and wellbeing. further develop her skills and experience Galico: An Exhibition of Fabric Design in financial management, management Nomad Art, Darwin Community elders made it clear that of human resources and leadership in By Ben Wallace, Art Coordinator, Bula’bula Arts, Ramingining education should be directed towards Indigenous organisations. youth and that technology should This exhibition of fabrics by Bula’bula In a unique screen-printing process, clan designs. play an integral role in its delivery. Rachael has been selected for artists at Nomad Art Gallery, Darwin paintings were scanned and digitally Youth are encouraged to actively the 2015 Art Gallery of Western in October 2014, took its name colour-separated using Photoshop. The The final stage of the project, working participate in exhibitions, festivals, Australia, Indigenous Leadership ‘Galico’ from the Gupapuynga word resulting print designs retain the same through Remote Jobs and Community bush trips and creative initiatives, Program in their Desert River for fabric and showcased new and feel as the original paintings and Projects, will introduce a sewing in diverse creative roles such as Sea Project. She is a Director of innovative designs based on paintings artists have greater control over the component. This will enable people from dancers, artists, photographers and Dambimangari Aboriginal Corporation by senior artists of Ramingining. end-design. Ramingining to produce cushion covers production assistants. and of Mowanjum Arts. Mowanjum and bags from the hand printed fabrics. Arts Manager, Jenny Wright reflects: The project involves employment and This will result in a range of products, It is important that the Art Centre and training of younger community members; designed, printed, sewn, marketed and the Media Lab are welcoming spaces ‘Rachael first became involved with the exposing them to the Art Centre, and to sold from a very remote community in for young people to learn, explore Art Centre as a CDEP worker seven working with aspects of their family and Arnhem Land. and interact with staff and artists. The years ago. When she started she was work we do now is the foundation too shamed to talk to customers. She has come so far since then.

The first ANKAAA Art Worker Program was perfectly timed for her and it gave her the confidence and knowledge to progress further in her job.

Rachael has been my right hand for some years now, and is such a pleasure to work with, ever eager to learn, outspoken, and not scared of anything. Roy Burnyila, (left) Warrnyu (flying fox), painting. She is also very funny! She is one of the George Milpurrurru & Don Weluk (right), textile Robyn Djunginy, bottle design, textile, painting and woven form (left) Philip Gudthaykudthay, Mowanjum kids model for The Magical Dinner Tree, Derby Marsh, 2013 best colleagues I have had in my long and cushion designs Gunyunmirringa Design, textile, painting and covered ottoman (right) George Milpurrurru & Don Weluk, Photo: Mowanjum Artists SWAC working life.’ cushion designs (middle) Photos: Nomad Art Productions

10 ARTS BACKBONE – EXHIBITIONS Volume 14: Issue 2, December 2014/January 2015 Volume 14: Issue 2, December 2014/January 2015 KEEPING PLACES /ART WORKER FOCUS – ARTS BACKBONE 11 Honoring the Teaching Roles of Senior Gija Women Art Centre 25th Anniversary Celebrations By Warmun Art Centre and Betty Carrington

Jilamara Arts and Crafts, Milikapiti – 25th Anniversary By Geoff Crispin, Manager, 2012-2014

On 6 August, 2014, Jilamara Arts and referencing. These attributes are recognised Crafts Association recognised 25 years of nationally and internationally through public formal existence with a community based and private collecting. Initially of work by the celebration at the Art Centre. Children ‘old ladies’; and now of the next generation, from Milikapiti School joined with Jilamara Pedro Wonaeamirri, Timothy Cook, Raelene artists in performing Yoi to recognise the Kerinauia, Janice Murray, Patrick Freddy landmark occasion. Puruntatameri and others.

Jilamara started out as an adult education At the forefront of Jilamara’s development is facility and transformed into an incorporated the importance of passing on culture to the Art Centre with the assistance of Anne next generation. Regular cultural classes are Marchment. Subsequent art coordinators held with the local Milikapiti school and Tiwi Pedro Wonaeamirri chairmanpreparing of Jilamara for Yoi have worked with the Tiwi management College. Additionally the Muluwurri Museum Photos: Jilamara Arts and Craft committee to foster the principles of ‘strong continues to build as a vital and active culture, strong art, strong community’. These repository of Tiwi cultural heritage. foundations were set by the grandmothers, ‘old ladies’ Kitty Kantilla and Freda Jilamara thanks all the visitors, Warlapinni and remain the basis for community members and artists who Pumpuni Jilamara, or good design, today. made the 25th anniversary celebration such a success; importantly, the children Over the last year and a half senior Gija women artists, including Mabel Juli, Shirley accessing healthcare and so on often Jilamara has established a reputation who will need cultural connections in Purdie, Phyllis Thomas, Betty Carrington and Shirley Drill have led a series of bush trips only admit elders as expert knowledge for quality artwork based on the use of the future to keep Jilamara and the to different parts of Gija Country (East Kimberley) in order to share time with and teach holders in ways that are bounded and locally occurring ochres and strong cultural community of Milikapiti strong. Girls learning Yoi with Dymphna Kerinauia their young women what they feel is important. conditional. They fall short of really Injalak Arts Gunbalanya, 25th Anniversary seeing and honouring what it is senior By Felicity Wright, Mentor Manager Ngali-ngalim-boorroo (For the Women) a two-part exhibition of paintings and videos Gija women know, what they do at Cross Art Projects and Sydney College of the Arts in late 2014, is part of a much and what they have to offer their own larger project. community. In this way their authority is It had been discussed throughout 2014, Mentor Manager Felicity Wright and helped support us over our 25 years of often undermined. Ngali-ngalim-boorroo the big 25th year anniversary. What special guest Wendy Kennedy (who operation. Thank you! ‘Well, we like to teach you mob, take Warmun Art Centre staff and project has been led by these women and they date? How much food do we need ? made the building happen all those you mob out’, says Betty Carrington, facilitators, Alana Hunt and Anna Crane have worked through difficult obstacles And most importantly, where are we years ago) opened the day, with words talking to a group of young woman in explain: ‘It is important to understand that to continue to speak to their young going to get a cake big enough for all of how proud and grateful they are of one of the videos. the energy that has created Ngali-ngalim- people with conviction and with love.’ our friends? the community, and to all who have boorroo is only the latest incarnation supported Injalak’s 25 year journey. ‘I like to hear you fellas talk Gija of decades of dedicated work. In their Words by Betty Carrington extracted from On Saturday1November everyone language. I like to hear you fellas efforts to fully take up their roles as interviews recorded by Nancy Daylight, Margaret was invited to Injalak’s home in The day was filled with fun for all the singing little bit of a joonba (a song and teachers, carers, providers, healers and Joshua and Asayah Nodea in September 2014 Gunbalanya to celebrate our 25th family. From printing your own Injalak dance cycle). Dancing joonba. That’s creators, senior women work teaching in in the Media Lab at Warmun Art Centre. Text birthday. Established in 1989, with a birthday T-shirt to spear throwing we own culture, black fella culture. the school, in their homes, in drug and compiled and co-authored by Anna Crane and focus on screen-printing fabric, Injalak and damper competitions, traditional We bin born with that. I bin learn all alcohol and therapeutic programs and at Alana Hunt. soon grew beyond its footprint as dancing, painting and weaving around here, when I bin little, singing the Art Centre using storytelling and art not only a place of creativity but of demonstrations, a huge bush tucker corroboree, dancing. Well I’d like to as tools towards these ends. The Ngali-ngalim-boorroo project was begun with education and sharing culture with an banquet, special birthday art sales, see you mob do that. And hunting. funding through tthe Australia Council’s innovative international audience. local bands and of course the largest Getting bush tucker. And I like to hear The elders carry their responsibility ‘Chosen’ grant program. The ANKAAA Board cake this side of the East Alligator River! you fellas jarrag [talk], Gija. That’s why to mentor and guide younger people is delighted to have encouraged this important Founding members including Gabriel we have this Gija program, for you happily and with humor but often initiative and that ANKAAA has supported Art Maralngurra, Isaiah Nagurrgurrba Injalak would like to acknowledge all mob to rangga [listen]. You can learn. I heavily. The systems that younger Centre applications, including that of Warmun Art. and Neville Namarnyilk, alongside who came to enjoy the celebrations, all jarrag Gija for you mob all the time at women are obliged to master and move Betty Carrington, video still from Ngali-ngalim– Chairperson Donna Nadjamerrek, the volunteers and everyone who has camp, all around’. within as they negotiate school, work, boorroo, 2014 Photo: Warmun Art Centre

12 ARTS BACKBONE – TEACHING UP Volume 14: Issue 2, December 2014/January 2015 Volume 14: Issue 2, December 2014/January 2015 ART CENTRE ANNIVERSARIES – ARTS BACKBONE 13 ANKAAA Training and Development Support Program (TADS) Durrmu Arts, Artist Exchange (Part Two) By Rikki Lovell, Manager, Durrmu Arts

ANKAAA’s Training and Development Support Program (TADS) is an ongoing responsive program designed to provide targeted support and small amounts of funding to ANKAAA members and Art Centres. It complements ANKAAA’s wider core training and support.

TADS contributes to one-off development projects for: artists and arts workers; Art Regina Wilson and Freda Wyartja teaching Tisha Tirak Photo: Cassie de Colling, Natureel Films Centre marketing and promotion; and strengthening of business practice. Art Centres are encouraged to contact the ANKAAA Cassie de Colling (Natureel Films) Resource and Development team with projects conducted interviews and recorded or ideas they would like assistance with. The detailed footage of the weaving programs ‘ground-up’ approach recognises technique to produce a 'how to' film. Dr. Weaving with the school children at Ningi Ningi, Moyle River Photo: Durrmu Arts needs of Art Centres and regions differ and Harriet Fesq, who is working with the maximalises value. Glynis Lee from Charles Darwin University works with Jemima Miller, Waralungku Arts Photo: CDU This project revives the ancient dilly bag, and in the afternoon school artists on a book about Peppimenarti airbell weaving technique lost to the children watched a documentary made weaving and painting, joined in. TADS Projects July - December 2014 Peppimenarti Region after missionary during the ‘Yilan’ workshop. times in the 1940’s. It grew from the In November Natureel Films returned to From July to December 2014, nine supported projects were completed benefitting 13 Art Centres and directly friendship between artists Regina On day two, we drove to a spot on the Peppimenarti for the final edit of the film. involving over 60 artists and arts workers. Wilson (Durrmu Arts) and Lily Roy (Yilan Moyle River called Ningi Ningi (Jungle Regina Wilson produced a voice over in Homeland) who met when they were Jungle) to collect pinbin (bush vine). We Ngan’gi and the translations to English for Bula’Bula Arts (Ramingining, NT) – Business Development both directors on the ANKAAA board. sat by the river learning the weave, subtitles. The outcome was a six-minute On site specialist support for enhancement of business management systems. and noted it is much easier to use bush documentary detailing the weaving Djilpin Arts (Beswick, NT) - SAM (Stories, Art, Money) Database Training vine than pandanus. In the afternoon, technique in our local Tyemirri language On site SAM Database training delivered to two new arts workers and advanced training for three existing everyone, including the school kids, had for the Peppimenarti Community. The arts workers. a hand in making our first communal documentary can be viewed on the Durrmu Arts (Peppimenarti, NT) - Artist Exchange (Part 2) see p.15 opposite fish-net and dilly bag (or airbell as it’s ANKAAA website at: http://ankaaa.org. Merrepen Arts (Nauiyu Nambiyu, NT) - Designs on Show at WOW Festival called at Peppimenarti). au/news/durrmu-arts-weaving-workshop/ Aaron McTaggart, Louise Mareranya, Amanda Sambono and Delphis Miler participated in the Women of the World Festival at Godinymayin Yijard Rivers Arts and Culture Centre, Katherine. WOW is an inspiring Learning to twine with bush vine Photo: Durrmu Arts On the third day, we moved upstream ‘We have to practice our own culture, festival originating from The Southbank Centre, London. The first phase took place in 2013 on the Moyle River to ‘Cement Block’ our ceremonies, our weaving, we must Mowanjum Artists (Derby, WA) - Professional Development Training when Peppimenarti artists made the where everyone started their own fish-net work together.’ Regina Wilson A series of intensive workshops were delivered to Art Centre staff and artists, including governance, 1750 km (return) journey by road for a from scratch, including the school kids. documentation, SAM database, money story and Biography/Story writing. weaving workshop at Yilan Homeland Nagula Jarndu Designs (Broome, WA) - Skills Development, Research and Networking at DAAF in Central Arnhem Land. Martha Lee and Maxine Charlie attended Darwin Aboriginal Art Fair 2014 as representatives of Nagula Jarndu, Broome, to undertake research and mentoring for development of marketing strategies. This second three day workshop at Tiwi Design (Bathurst Island, NT) – New Designs for Tiwi Design Peppimenarti Community in July 2013, Vivian Warlapinni and Alan Kerinauia attended workshops at Megalo print studio in Canberra to create gave original participants a refresher six new fabric designs and 12 T-shirt designs. The designs were gifted to the National Gallery of Australia A range of clothing made from Merrepen- on the weaving technique of twining designed fabrics was modelled at the WOW - collection. Women of the World Festival, Godinymayin Yijard with bush vine; and opportunity for other Waralungku Arts (Borroloola, NT)- Screen Printing Workshop at Northern Editions Rivers Arts and Culture Centre, Katherine. New community members to learn first hand networks were created for Merrepen attendees Jemima Miller, Rhoda Hammer, Raylene Djitmu, Sharon Keighran, Violet Hammer, Nancy McDinny and and inspiration flourished while surrounded by from visiting Arnhem Land artist/teachers Stewart Hoosan participated in screen printing and etching workshops at Northern Editions. strong and influential women. Photo: Eliza Dobell Lily Roy and Freda Wyartja. and Toni Tapp Coutts Waringarri Arts, Warmun Art Centre, Mangkaja Arts, Mowanjum Artists, Yarliyil Art Centre (Kununurra, The TADS program in this period has been Warmun, Fitzroy Crossing, Derby, Halls Creek, WA) - In the Saddle, On the Wall Exhibition Projects financially supported by the Northern On the first morning, pandanus was A joint travelling exhibition of Kimberley artists that supported a range of skills development training activities Territory Government through Arts NT and the collected, stripped, dried and used Australia Council for the Arts via a Skills and for art workers at five Kimberley Art Centres. to practice weaving a base for a Sisters Freda Wyartja and Lily Roy with the communal fish trap Photo: Durrmu Arts Development grant.

14 ARTS BACKBONE – ANKAAA CORE PROGRAM Volume 14: Issue 2, December 2014/January 2015 Volume 14: Issue 2, December 2014/January 2015 ANKAAA CORE PROGRAM – ARTS BACKBONE 15 Darwin Aboriginal Art Fair 2014 ANKAAA Art Worker Extension Program at DAAF 2014 Graduation Breakfast & Presentations

and enabled visitors to receive plenty of ANKAAA’s Arts Worker Extension Program additional information about the industry, (AWEP) culminates each year in August the art, and the regions, through many with the staging of two key events as part conversations as well as ANKAAA of the Darwin Aboriginal Art Fair (DAAF). literature, such as the ethical buying guides, the Guide to Aboriginal Art The AWEP Graduation Breakfast is held Centres and Arts Backbone magazine. on the first morning of the Art Fair, and AWEP Graduates deliver a program of The Art Fair coincides with the short presentations throughout the Fair. National Aboriginal and Torres Strait Islander Art Awards, the Darwin The AWEP Graduation Breakfast, Festival, the National Indigenous held at Darwin Convention Centre, Music Awards and numerous art is an industry event to celebrate the exhibitions in early August, making achievements of the AWEP participants

it a truly exciting time to be in town and thank funders and partners. 2014 AWEP Graduates Deborah Wurrkidj (Babbarra Designs, Maningrida) and Kieren McTaggart to catch up with colleagues living in (Merrepen Arts, Daly River) receiving Certificates of Achievement from ANKAAA Chair Djambawa Marawili AM. All photos: photoConnective some of the remotest parts of Australia. Invited guests include politicians, funding bodies, cultural institution partners, Art Of particular interest to many people Centre staff, the ANKAAA board, past at the 2014 Art Fair were the stall AWEP Graduates and the friends and tours given by ANKAAA’s Art Worker family of the participants. Extension Program participants as a valued informative part of the Art Fair’s During the ceremony current AWEP demonstrations, workshops and forums. participants share program highlights and guest speakers (usually politicians or ANKAAA would like to thank all its representatives from funding bodies or members and supported Art Centres cultural institution partners) talk about the for travelling long distances to attend value of the program. DAAF and to all those who popped in to the ANKAAA stall. The ANKAAA After the speeches and breakfast, the AWEP Board is looking forward to ANKAAA participants are awarded with a Certificate participating in the Darwin Aboriginal of Achievement and invite guests to visit them Art Fair from 7 – 9 August 2015 at their Art Centre stalls during the Art Fair. 2014 AWEP Graduates Deborah Wurrkidj (Babbarra Designs, Maningrida) and Selina Gallagher (Waringarri Arts, Kununurra) catch up with AWEP partner and supporter, Franchesca Cubillo, Senior Readers are encouraged to check Advisor of Aboriginal and Torres Strait Islander Art at the National Gallery of Australia. ANKAAA stall at DAAF 2014 with Deputy Chairman Gabriel Nodea (Warmun Art Centre, East the website for details: http://www. During the course of the Art Fair the new Kimberley, WA) representing the ANKAAA directors Photo: ANKAAA darwinaboriginalartfair.com.au. AWEP Graduates deliver short audio- visual presentations on their Art Centres, ANKAAA is represented on the Darwin their roles and their broader communities. Since the inaugural event in 2007, Arts Industry, with 58 Art Centres from Aboriginal Art Fair Foundation Ltd. Board and ANKAAA has participated in the Darwin across the continent attending the has worked closely with DAAF supporting the Art The aim of the presentations is to allow Aboriginal Art Fair (DAAF) and helps 2014 event. Fair’s development. the AWEP Graduates to build on their enable Indigenous arts workers to public speaking experience, and travel to work at the Fair, and extend This year, 27 ANKAAA supported educate DAAF audiences about the role professional experience, through its Arts Centres exhibited at the Art Fair, of arts workers and Art Centres. partnership with DAAF. promoting their products and enabling visitors to ethically purchase artworks. In 2014 nine arts workers graduated from Now situated at The Darwin AWEP (six from NT and three from WA) Convention Centre on Larrakia Land, The presence of the ANKAAA stall at the taking the total number of Graduates to 34. the Art Fair offers a unique impression entrance to the Art Fair supported the It is expected the number of Graduates will 2014 AWEP Graduate Rhoda Hammer (Waralungku Arts, Borroloola) introducing her Art Centre to DAAF visitors. Leaders of the 2014 DAAF Art Centre tour AWEP Mentors Yinimala Gumana (Buku-Larrnggay of the diverse Australian Aboriginal important message of ethical purchasing pass 50 in 2016. Mulka, Yirrkala) and Evangeline Cameron (Djilpin Arts, Katherine) to her left.

16 ARTS BACKBONE – ANKAAA CORE PROGRAM Volume 14: Issue 2, December 2014/January 2015 Volume 14: Issue 2, December 2014/January 2015 ANKAAA CORE PROGRAM – ARTS BACKBONE 17 ANKAAA Arts Worker Extension Program – The Next Exciting Chapter Celebrating Harvesting Traditional Knowledge By Dion Teasdale, Graduate Program Co-ordintor By Vanessa Kredler, Project Coordinator ANKAAA

and Jilamara Arts joined as workshop hosts, and the United Nations University, Traditional Knowledge Centre as part of the advisory committee.

New Website To respond to the many requests ANKAAA’s John Saunders during Darwin based for continued networking and training with 2012 AWEP Graduates Kevin 2014 AWEP Gradautes during a visit to 2012 AWEP Graduate Janice Murray with family Winunguj and Marilyn Nakamarra, and 2011 Parliament House in Canberra. and ANKAAA staff member Chris Durkin during a collaboration opportunities, ANKAAA AWEP Graduate Vivian Warlapinni. site visit to Jilamara Arts. is about to launch a website to feature In July 2014 ANKAAA embarked on Program provides Graduates with ongoing: Put simply, the action plan is a issues around ‘Digital Archiving and the next exciting chapter in the ongoing document (or contract) that helps Keeping Places’. We hope that all development of its Arts Worker Extension xx Tailored skills development and ANKAAA, the AWEP Graduate and program participants will be able to Program (AWEP). project support, targeting individual their Art Centre: contribute to this website to continue workplace needs and goals; the knowledge exchange. AWEP, which began in 2010, is an xx Opportunities to expand networks xx Identify the Graduate’s individual intensive professional development program and industry participation; and, professional development goals and If you have any resources to share that for Aboriginal arts workers employed in xx Mentoring to achieve workplace needs; could help Art Centres with questions Northern Australian Art Centres. goals, and develop skills to mentor xx Decide on the activities the Graduate around digital archiving and community others in the workplace. will undertake to achieve those goals; collections, please get in touch! The program includes Darwin-based and, group training blocks, interstate industry So far 27 of the 34 Graduates have xx Map out when and where they will Documentary internships, field trips, site visits, put up their hand to be involved in the take place on a timeline. The Mulka Project (Yirrkala) has workplace assessment and mentoring. new AWEP Graduate Program over produced a fascinating documentary Major cultural institutions such as the the coming 12 months. 19 are from AWEP Graduates have identified about the project. It was launched National Gallery of Australia, the Art the Northern Territory and 8 are from mentoring, resilience in the workplace, at the 17th Triennial Conference of Gallery of NSW and the University of Western Australia. cultural tourism and community the International Council of Museums Melbourne host interstate internships. collections as key professional Committee for Conservation in Arts Workers who have signed up to development areas. Other key Melbourne in September 2014, Over the past four years 34 Aboriginal the AWEP Graduate Program are able skills development goals include and at the 2014 ANKAAA Annual arts workers from 19 different Art to access the following resources: photography, SAM database training, Conference, and was met with huge Centres have graduated from the project and financial management, and applause. If you are interested in program and participated in ongoing xx A 12 month Individual Professional improving numeracy and literacy. screening the documentary at your Art skills development. Development Action Plan (IPDAP); ANKAAA’s Harvesting Traditional Knowledge Project, Showcase Booklet cover design Centre or organisation, please get in xx One-on-one mentoring (via phone, Fifteen Graduates attended the touch. The trailer can be viewed on the Each year AWEP Graduates have gone video call or in person); ANKAAA AGM at Mount Bundy ANKAAA is pleased to share with workshops at remote Art Centres in ANKAAA website at: http://ankaaa. on to mentor new recruits, participate in xx Financial assistance for site visits Station in November, 2014 where htey you some of the achievements of the Northern Australia, and have engaged org.au/special-projects/harvesting- regional exchanges, attend networking and access to expertise, training or participated in a mentoring workshop Harvesting Traditional Knowledge at least 120 Indigenous artists from 19 traditional-knowledge/ events and complete leadership programs. equipment; and helped plan upcoming events. project, which came to an end communities in ANKAAA’s four regions, xx Participation in Graduate in 2014. Harvesting Traditional as well as 24 conservators and curators The ANKAAA Board would like to Now, as AWEP celebrates its fifth Networking Events (including the There will be a number of group Knowledge is a two-way learning from 17 key cultural institutions across thank all of you for your interest in and anniversary, ANKAAA is offering a more AWEP Graduate Conference to be training activities in 2015 including platform that brings Australian Australia. It has been an amazing contribution to the project. We very consolidated Graduate Program to assist held in Darwin in April 2015). a cultural tourism field trip, a Indigenous traditional knowledge journey and we have made many much hope that you will keep in touch the development of career pathways. conservation workshop, SAM training masters together with conservators from friends along the way! and continue to be an active part of The first step for Graduates has and the AWEP Conference. leading Australian cultural institutions to our network! Funded by the NT Department of been to work with their Art Centre share different approaches to caring for The project, led by ANKAAA, is This project is an Inspiring Australia Initiative Business and the WA Department of Coordinators/and ANKAAA to To find out more about the Arts Worker cultural material. a partnership with Buku-Larrnggay and within ANKAAA is under the umbrella of Culture, with contribution from the draft an Individual Professional Extension Program and the AWEP Graduate Mulka Yirrkala and The Melbourne the Digital Archiving and Keeping Place Support Australian Government Ministry for Development Action Plan (IPDAP). Program go to ankaaa.org.au/category/ Over the last two years ANKAAA University’s Centre for Cultural Materials Program supported by the Australia Council for the Arts, the new AWEP Graduate special-programs or phone 08 8981 6134. and its project partners delivered four Conservation. Mowanjum Art Centre the Arts.

18 ARTS BACKBONE – ANKAAA PROJECTS Volume 14: Issue 2, December 2014/January 2015 Volume 14: Issue 2, December 2014/January 2015 ANKAAA PROJECTS – ARTS BACKBONE 19 ANKAAA Regional General Meetings 2014

Each year, ANKAAA holds Regional Chairman, Djambawa Marawili AM, The ANKAAA Directors warmly thank all General Meetings in each of its four who made a special trip from Arnhem who attended and gave their time and regions before the AGM. These Land. Also present was an important expertise to 2014 regional meetings, meetings are central to Indigenous Elder and previous ANKAAA Chairman, and to the host venues. governance and leadership and an Mr Ngarralja Tommy May, who important way for artists, art workers Djambawa acknowledged as ‘The Special thanks to Kimberley Aboriginal and coordinators from different Father of ANKAAA’. Law and Culture Centre (KALACC) for community Art Centres to connect and sponsoring the kurtal dancing at the discuss industry priorities. Kimberley meeting at Fitzroy Crossing.

Elections for the ANKAAA Board of * The Office for the Registra of Indigenous Directors take place at the regional Corporations (ORIC) previously automatically meetings every second year. Four accepted all the Aboriginal members of ANKAAA directors are elected from each region, ANKAAA Darwin/Katherine Regional General Meeting 2014, outside The Godinymayin Yijard Rivers supported Art Centres as voting members of to make up the full Board of twelve Terry Murray, Chair Mangkaja Arts and Mr Arts and Culture Centre, Katherine ANKAAA Deputy Chair Gabriel Nodea with Ngarralja Tommy May, Mangkaja Arts, present ANKAAA. Following changes to the Corporations Peggy Patrick from Warmun Arts, Kimberley the ANKAAA Chair Djambawa Marawili AM with directors and four stand-in directors. (Aboriginal and Torres Straight Islander) Act 2006 Regional General Meeting 2014 a ceremonial headdress Eight Art Centres attended the Darwin/ opportunity for participants and Nerrale CATSI (CATSI Act), individual completion of a Katherine Regional General Meeting, Arnold, Regional Manager, Northern Arnhem Land) with a Kurtal headdress signed and approved ANKAAA membership form which took place in late September, Territory Indigenous Community Volunteers to symbolise the long standing good is now required for members to vote or stand for gave a presentation on the programs the relationship between the Kimberley of office. The 48 Aboriginal owned and governed organisation offers and how they can WA and the NT within ANKAAA, strong Art Centres supported by ANKAAA still receive full assist Art Centres. continuity of leadership, and alignment of service delivery and all their members and staff are fundamental cultural priorities. welcomed to participate in ANKAAA meetings.

ANKAAA Tiwi Regional General Meeting 2014

In 2014, following changes to the Kurtal dancing at Kimberley Regional General Meeting 2014 Office of the Registra of Indigenous Corporations (ORIC) rulings, Indigenous Break-out groups discussing regional priorities Presentations by a number of Art Centres ANKAAA Darwin/Katherine Regional General members needed to have signed an Meeting 2014 on their achievements of the past 12 individual membership form, approved Welcome to Country Smoking Ceremony, Mangkaja months were combined with group by the ANKAAA board, to be eligible to Arts, Kimberley Regional General Meeting 2014 discussions on priorities and concerns vote*. ANKAAA staff, worked hard all Mangkaja Arts hosted the Kimberley for Art Centres and artists. There were year, with the incredible support of Art Regional General Meeting at Fitzroy also special talks by Terry Murray, on the Centre coordinators and arts workers, to Crossing in early October, 2014. A Kimberley Aboriginal Law and Culture Arnhem Regional General Meeting 2014 attendees achieve a high level of formally signed Welcome to Country with smoking Centre (KALACC), Geraldine Henrici, Art forms, ensuring the community could ceremony was given by Senior Bunuba Gallery of Western Australia, on the Desert, The Arnhem Regional General Meeting actively participate and choose who they man, George Brooking, outside the River, Sea Project and Chris Griffiths, was held at Mount Bundy Station, would like to represent their regions. ANKAAA Director Peter Jigili chairs the Katherine/ Mangkaja Art Centre as well as a Richard Thomas and Gabriel Nodea, on Adelaide River south of Darwin on 11 Darwin Regional General Meeting 2014 welcome by Mangkaja Chairman, Terry the Kimberley Aboriginal Artists (KAA). November, 2014 – the day before the The Tiwi Regional General Meeting 2014 at the Godinymayin Yijard Rivers Murray. Over 70 people from 10 Art ANKAAA AGM and Annual Conference. was held in early September at the Tiwi Arts and Culture Centre, Katherine. As Centres attended, including ANKAAA On the evening of the first day of the Staff and artists from seven Art Centres Enterprises Conference Room, Nguiu, well as updates on the activities of each meeting, approximately 100 people attended to share their news and to Bathurst Island. Staff and artists from Art Centre over the year, two open enjoyed a Kimberley style cook-up discuss priorities for Arnhem Art Centres. Jilamara Arts, Munupi Art and Tiwi Design discussions took place. Topics included at the Art Centre, which included a Topics raised included increased lobbying identified and discussed a number of identifying ways to keep working traditional Kurtal dance ceremony and of government to understand community Ishmael Marika (Buku Larrnggay-Mulka) discussing regional priorities including: cultural together to keep art, culture and country the screening of some locally-made films. needs via actual visits to communities, regional priorities at Arnhen Regional General Meeting 2014 tourism, cross-generational engagement, strong and discussions on Art Centre As part of the dance ceremony, Mr better access to accredited training in cultural revival and reinforcement, priorities for 2015. Two guests attended. Ngarralja Tommy May (former ANKAAA a range of skills that are relevant and innovation, digital archiving, governance Peter Shepherd delivered a governance Chairman) presented ANKAAA Chairman useful, cultural tourism, and sustainable ANKAAA Kimberley Regional General Meeting, training and on-going funding. workshop as a professional development Mangkaja Arts, Fitzroy Crossing 2014 Djambawa Marawili AM (North-East operational funding.

20 ARTS BACKBONE – ANKAAA CORE PROGRAM Volume 14: Issue 2, December 2014/January 2015 Volume 14: Issue 2, December 2014/January 2015 ANKAAA CORE PROGRAM – ARTS BACKBONE 21 ANKAAA AGM and Annual Conference 2014 Mount Bundy Station, Adelaide River

1. Screen Printing Workshop – Marth¬¬a Lee, Nagala Jandu Artists, Broome 2. Screen Printing Workshop - Anna Richardson, volunteer 3. Open Board Meeting - Ruth Nalmakara, outgoing ANKAAA Director 4. Open Board Meeting 5. Open Board Meeting - Djambawa Marawili AM, ANKAAA Chair & Gabriel Nodea, Deputy 6. Damper Competition - Mavis Gunambarr & 1 2 3 4 5 6 7 Mt Bundy Station owner Scott going all out to prepare the fire 7. Damper Competition - ANKAAA Directors judging 8. Bush Material Jewellery Workshop 9. Screen Printing Workshop - Jimmy Mungatopi & Alan Joshua 10. Lunch 11. Casual meeting 12. Art Worker Extension Program Graduate Meeting (14 of the 34 graduates). Seated L to R: Betty Bundamurra, Jennifer Dickens, Dora Griffiths, Rachael Morris, Deborah Wurrkidj, Miriam Charlie, Rhoda Hammer, Ruth 8 9 10 11 12 Nalmakara. Standing L to R: Alan Joshua, Jimmy Mungatopi, Kevin Yarangku Winunguj, Stanley Taylor, John Pilakui & Vivien Warlapinni. 13. Bush Material Jewellery Workshop - Carol Puruntatameri, Munupi Art 14. 2014 AGM participants 15. Annual Conference Forum - Kevin Winunguj, Maningrida Arts presenting 16. Annual Conference Forum - Mark Stapelton, Director, Australia Council Aboriginal and Torres Strait Islander Arts Division 17. Bush Material Jewellery Workshop - Mavis Ganambarr, Elcho Island 13 14 15 16 18. ANKAAA Directors meet with key funders 19. ANKAAA Directors meeting 20. ANKAAA AGM 21. ANKAAA AGM - Emma Gundurrunbuy, Milingimbi Art and Culture 22. Bush Material Jewellery Workshop - Susan Wanji Wanji, Munupi Art 23. ABC Open Ipad Workshop - ANKAAA’s John Saunders assisting 24. UMI Arts EO, Darryl Harris, Employment Forum 25. Indigenous Art Centre Alliance, QLD – Pam Bigelow, Manager 26. Indigenous Art Centre Alliance, QLD - Solomon 18 19 Booth, Director 17 20 21 27. WA Aboriginal Art Centre Hub, WA - Christine Scoggin, Coordinator 28. Desart, NT - Hannah Grace, Senior Program Manager 29. Digital Archiving & Keeping Place Forum - IRCA’s Daniel Featherstone and Bernard Namok 31 30. Northern Land Council, Leanne Liddle, Senior 25 27 29 Policy Advisor 31. Money Story Forum – funding partners present L to R: Gwen Gaff (Creative Partnerships); Angela Hill (Arts NT); Cathie Rae (NT Dept of Business); Jane Barney (Ministry for the Arts); Mark Stapleton (Australia Council) 32. Networking under the mango tree 24 33. Art Centre Media Units – Katie Breckon 22 23 26 28 30 32 33 (Mowanjum Arts Media Centre, Derby, WA), Ishmael Marika (Mulka Centre, Yirrkala, NT)

22 ARTS BACKBONE – ANKAAA CORE PROGRAM Volume 14: Issue 2, December 2014/January 2015 Volume 14: Issue 2, December 2014/January 2015 ANKAAA CORE PROGRAM – ARTS BACKBONE 23 ANKAAA News ANKAAA & Art Centre News

ANKAAA Chairman on Prime Minister’s The 2014 ANKAAA AGM and Annual The event closed with the annual Open Traditional Knowledge Recording at Jilamara Arts – Geoff Crispin & Terry Wright Exhibitions of Drawings from the 1940s Indigenous Advisory Council Conference, Mt Bundy Station, Adelaide ANKAAA Board Meeting lead by the Jilamara Arts and Craft, Milikapiti (Snake Merrepen Arts – Lizz Bott and 50s – Contemporary Connections ANKAAA Chairman Djambawa Marawili River was attended by 138 participants ANKAAA Directors where participants Bay), Melville Island Ngukurr Arts – Julie North Two 2014 museum generated exhibitions AM has been a member of the Prime including ANKAAA artists, Art Centre shared responses to the event and industry ANKAAA Resource and Development Tiwi Art Network – Mel Goetz celebrate drawings resulting from inter-relations Minister’s Indigenous Advisory Council since managers, and representatives of partner issues and said their farewells. Officer, Guy Hancock assisted Jilamara Arts Waralungku Arts – Madeleine Challender between anthropologists and northern it first met in December 2013. Over the first organisations and government funding bodies. and Craft staff, artists and Elders with the Aboriginal people in the 1940’s – 50’s. year he participated in seven of the eight full ANKAAA Board of Directors 2014 video recording of traditional songs in Tiwi Incoming Art Centre coordinators: Warlpiri Drawings: Remembering the Future council meetings and sat on the Education Djambawa Marawili AM, the ANKAAA The ANKAAA Board of Directors met language on 9 September, 2014. Anindilyakwa Art & Culture – Chris Durkin (National Museum, Canberra) and Yirrkala Working Group. Chairman opened the AGM and as this was six times in 2014. Federal and local Babbara Designs – Julia Harris Drawings (Art Gallery of N.S.W touring). an election year the new ANKAAA Directors government funding agencies which have The Council’s purpose is to provide advice to Using ANKAAA equipment, eleven songs Coomalie Cultural Centre – Rebecca Erkelens were welcomed (see p.3) and contributions given long term support to ANKAAA core the Government on Indigenous affairs, and were recorded, sung by Rachel Freddy, Jilamara Arts – Adrian McCann & Sarah of outgoing Directors acknowledged. The programs and operations accepted board to focus on practical changes to improve Doriana Bush, Mary Elizabeth Moreen Delaney annual conference followed. invitations to jointly attend two of the 2014 the lives of Aboriginal and Torres Straight and Pedro Wonaeamirri. Later in the day, Maningrida Art & Culture – Louise McBride meetings (May/November). Islander people. children from the primary school were Ngukurr Arts – Jude Emmett 2014 Key forum themes were: ‘Art Centres: recorded practicing the dances for each Waralungku Arts – Chloe Gibbon Mr Marawili’s participation has included Positive Models of Indigenous Employment, Themes discussed included: ways of working song under guidance from the Elders and speaking for: recognition of community Art Livelihoods and Leadership’; ‘Cultural Tourism together to foster long term sustainability, as Jilamara arts worker, Jimmy Mungatopi. A warm welcome to new Coordinators from Jenny Napurrurla Johnson (Warnayaka Art, Centres as positive models for Indigenous Lajamanu) at opening of Warlpiri Drawings, - Making a Living through Sharing Culture’; an organisation (‘we want ANKAAA to be the ANKAAA board and staff. National Museum, Canberra. Art Centre crew employment and economic development; helped curator Melinda Hinkson research. Photo: and ‘Digital Archiving and Keeping Places’. there for the grand-children’); for Art Centres Videos editing was done with the Warnayaka Arts and for the crucial importance of homelands and the Aboriginal arts industry. As well participants and returned to Jilamara as a Tiwi Art Network – in ‘Sleep’ Mode for strong art. Workshops took place in: I-pad Video as ways to: reduce administrative burden, completed DVD movie for the community to After a decade Tiwi Art Network (TAN) Making; Jewellery Making with Bush harmonise reporting and to work together Mr Marawili sits on the Council as an utilise and enjoy. Additional copies have - Indigenous governed art marketing Materials; Screen Printing; Governance; effectively with philanthropic and corporate individual appointed by invitation. His been archived at the Muluwurri Museum and coalition, wound down into ‘sleep’ mode in and Money Story. And there were on funders. participation on the Council in 2013-14 Milikapiti school for safe keeping. December 2014 and their shop in Parap, site meetings of: the ANKAAA Board of was administratively supported by ANKAAA. Darwin, closed. Directors; Arts Worker Extension Program This joint project was supported by Jilamara Buku Larrngay Mulka dances open Yirrkala Graduates; National Indigenous Arts Peak Arts and Craft, and the ANKAAA Digital This follows a sudden loss of base-line Drawings, Charles Darwin Uni, August 2014 Photo: ANKAAA Bodies; and the Art Centre Managers ‘When jobs build on existing Archiving and Keeping Place Support operational funding from Ministry for the Arts Round Table. ANKAAA was delighted that cultural knowledge people grow Program, funded by the Australia Council. in July 2013. TAN continued trading through Contexts for Contemporary Northern Art peak bodies: Desart (Central Australia) confident and strong and are able It was the pilot for an ANKAAA video 2013-14 achieving record sales and Historical and social context for Northern art is Umi Arts and IACA (Far North Queensland to learn new skills.’ And become, recording project to be rolled-out in 2015. income and building on-line sales. However offered in two recent books. A Town Is Born – The and Cairns) and WA Art Centre Hub ‘responsible for their families and lacked time and stability to plan a new Fitzroy Crossing Story by Steve Hawk (Magabala (Perth) participated (with apologies sent by communities by showing strong sustainable operating model. TAN members Books, Broome, 2013) and Maningrida - A Photo: ANKAAA Board meeting with the Australia Ananguku Arts, SA). Council, Ministry for the Arts & Arts NT, May leadership.’ – Djambawa Marawili have expressed their wish to continue to History of the Aboriginal Township in Arnhem Land 2014. Photo: ANKAAA work together on joint activities in the future. by Helen Boyd-Sharp (Helen Boyd Sharp, 2013). The ‘Money Story - Talking About Funding’ The TAN web site may be maintained. workshop featured representatives of key ANKAAA together with ORIC supported national and state/territory funding bodies TAN’s decision making process. discussing current programs and funding directions. And Anglicare’s Indigenous ‘Money Matters’ team were available for discussion. ANKAAA Resource and Development Officer, Guy Hancock, (left) filming traditional song and dance at Evening entertainment included the Jilamara Arts and Craft with AWEP 2014 Graduate Harvesting Traditional Knowledge Jimmy Mungatopi (far right) Photo: Jilamara Arts Documentary launch and a screening of Art Centre Staff Changes short films from Art Centres on the first day. Departing Art Centre coordinators/managers And the 5th Annual ANKAAA Damper are acknowledged for their hard work and TAN wind-down meeting, Airport drop off, Melville Island, Dec. L to R John Saunders Making Competition, with first prize won by dedication: (ANKAAA), Hannah Roe (ORIC), Geoff (Jilimara Bula’bula Arts Chair Person Francis Djulibing. Bula’bula Arts – Ben Wallace Arts), Brian Farmer (ANKAAA Director) in troopie with crew. ANKAAA Chair Djambawa Marawili AM, outside Parliament House, Canberra 2014. Photo: ANKAAA Babbara Designs – Claire Nicholl

24 ARTS BACKBONE – NEWS Volume 14: Issue 2, December 2014/January 2015 Volume 14: Issue 2, December 2014/January 2015 NEWS – ARTS BACKBONE 25 Out and About Obituary: Balang (Richard Birrinbirrin) By Djon Mundine, Independent Art Curator and Former Art Advisor, Bula’bula Arts, Ramingining

Richard Birrinbirrin was a member of the school. Although a singer, Birrinbirrin National Gallery of Australia. ANKAAA Board of Directors from 2004 also took up a ‘Western’ occupation as to 2009, and served as Chairman health worker, a position he held at the All this would be eclipsed by his acting in 2007. ANKAAA’s Indigenous Ramingining Clinic for ten years. career. A keen supporter of the film Ten Leadership honors his memory and Canoes (2006), during its development contribution to Australian art. As a leader in ceremonies, Birrinbirrin phase, Birrinbirrin's enthusiasm was not new to ‘performance’. Indeed, and assistance provided important 1 2 3 ‘There are no limits to where the Australian he made his public western performance introductions of the filmmakers to the Aborigine can go in Australian society or debut in New York in 2002, where he Ramingining community. He went on to in education. He can climb as high as and his brother Neville Gulaygulay sang act in Crocodile Dreaming (2007) with he cares to exert himself’. E. A. Wells, to open ‘The Native Born’ exhibition at Tommy Lewis and David Gulpilil, directed Milingimbi Mission Superintendent, 1953. the Asia Society Gallery. They would by Darlene Johnson. He then ironically travel to Taiwan in 2003 with the same featured as the ailing old relative who Richard Birrinbirrin was born in 1953 exhibition, and to Sydney for the 2008 goes off to hospital in Darwin (to die) in at Milingimbi Mission and initiated exhibition ‘They Are Meditating’. Charlie’s Country (2013). on the beach outside his father, David 4 5 Malangi’s, self-constructed tin-shed home He and Gulaygulay were also I first had contact with Richard around about 12 years later. commissioned to perform a dada 1983 at Ramingining. He became (smoking) ceremony and sand sculpture a good friend. The last time I saw Within each generation, in each in Ebisu, Tokyo. Richard he was in a wheelchair at the family, a son would assume the role Ramingining Festival in 2013. I miss of ‘manikaymirr’ or the ritual singer, Richard came alone to Canberra to him very much in the writing of these while others would go to ‘Western’ sing to ‘The Aboriginal Memorial’ at the few words. Reflection - In the Saddle on the Wall By Chris Griffiths, Warmun Art Centre 6 7 8 9

In the Saddle on the Wall is about These times were filled with great sharing our old people’s way of life on connections to Country, cross cultural the cattle stations across the Kimberley relationships and a huge sense of pride through painting and video. that we were the best for the job at hand. Although there wasn’t much grog These stories came from the old during these times there were other people themselves. things that made life hard. Our old people lived without basic rights and 10 11 12 13 Alan Griffiths, Cattle Muster, 2013, natural ochre It is important for all of us to know what worked without pay. 1. Learning about Country and Tiwi Clan Areas Kalkarindji Art and Culture Centre. 8. ANKAAA Chairman congratulates John on paper. Photo: Waringarri Arts it was like for Aboriginal people during with Pauletta Kerinauia. Saunders. Opening D.evolution Exh. Aug 5. Nagalu Jandu Art, Broome, textile exh. at this time in Australia’s history, in the early Some of our old people’s stories made 2014, Darwin. 2. Looking at traditional Tiwi items in the Civic Centre, Broome, October 2014, In the Saddle on the Wall is a Kimberley years of the white man’s invasion into us laugh and others made us cry – but Muluwurri Museum, Jilimara Arts, Tiwi. With after workshop with textile artist Megan 9. ANKAAA Deputy Chair, Gabriel Nodea, Aileen Puruntatameri and Dymphna Kerinauia. Kiwan-Ward. Artists with ANKAAA Chair, ANKAAA Stall, Garma Festival of Traditional Aboriginal Artists project, involving our Country. At first many Aboriginal all together they made us younger ones Djambawa Marawili AM & CEO Christina Culture, Gulkula, Aug 2014. 3. Yothu Yindi Foundation Chairman, Gallawuy Davidson. Waringarri, Warmun, Mangkaja and people were forced onto stations in order understand what life was really like Yunupingu, left, with ANKAAA Chairman 10. Jennifer Dickens, Mangkaja Arts (AWEP Djambawa Marawili AM, unveiling the new 6. Kieran Karritpul of Merrepen Arts at the Graduate 2012) & Coordinator WES Mowanjum Art Centres, working in to survive, as they witnessed their own for our old people and that made our Garma Knowledge Centre at Gulkula, Garma National Aboriginal & Torres Strait Islander Maselli, Darwin Aboriginal Art Fair (DAAF), partnership with ABC Open. countrymen die at the hands of the white old people feel good, because they Festival, 2014. Art Award 2014, winner of the inaugural 2014.. ‘Youth Award’, for his textile piece, ‘Yerrgi’ man. But soon our old people became understood that we were interested in 4. Kalkarindji artists from Wave Hill at the funeral 11. AWEP Graduate 2014, Selina Gallagher (Pandanus). of former Prime Minister Gough Whitlam. L working at the Warringarri Arts stall at the Exhibitions were held at Waringarri Arts, the backbone of the cattle industry. knowing what really happened. to R: Pauline Ryan, Mary Edwards, Biddy 7. ANKAAA Harvesting Traditional Knowledge Darwin Aboriginal Art Fair, 2014. Kununurra, in May 2014, and at University Wavehill, Judith Donald, Ena Oscar, Aileen Documentary launch. International Council of 12. - 13. ANKAAA Chair, Deputy Chair & CEO Roy, Mary Smiler, Marianne Wanybuku, Museums, Committee for Conservation 17th of Notre Dame, Broome, in August. 13 short In the Saddle on the Wall tells this story Christina Davidson, addressing visitors of Sarah Oscar, Topsy Dodd, Patrick Jimmy, Triennial Conf. Melb. Sept. 2014. ANKAAA DAAF 2014 about ANKAAA’s Arts Worker artists biographical videos can be accessed through the words and paintings of our Kathleen Sambo, Michael George, Timmy Director, Wukun Wanambi & Melb. Uni. Extension Program. Vincent, Banjo Ryan and Sonny Victor. Photo: CCMC Director, Robyn Sloggert (see p.19). at open.abc.net.au/explore?projectId=21. old people themselves.

26 ARTS BACKBONE – OUT AND ABOUT Volume 14: Issue 2, December 2014/January 2015 Volume 14: Issue 2, December 2014/January 2015 OBITUARY / REFLECTION – ARTS BACKBONE 27 Kulum Whitlam – Gurindji Tribute ANKAAA Prime Minister Gough Whitlam Directors and Staff By Penny Smith, Manager, Karungkarni Art and Culture Centre

ANKAAA Board of Directors On hearing of the death of former Prime ‘Finally, to give back to you formally in 2014-2015 Minister Gough Whitlam on 21 October Aboriginal and Australian law ownership of Chairperson - Djambawa Marawili 2014, the Gurindji people of Kalkarindji this land of your fathers. Vincent Lingiari, I Buku-Larrnggay Mulka and Baniyala Home Land Studio Arnhem Region and Daguragu communities gathered at solemnly hand to you these deeds as proof, Deputy Chairman – Gabriel Nodea the Art Centre to express their sorrow at in Australian law, that these lands belong Warmun Art Centre, Kimberley Region the passing of that ‘jangkarni marlaka’ (big to the Gurindji people and I put into your Treasurer – Jedda Puruntatameri important man). Men, women and children hands this piece of the earth itself as a Munupi Arts, Tiwi Region sat together through the day sharing stories sign that we restore them to you and your Secretary – Peter Jigili Warnayaka Arts, Darwin/Katherine Region in his honour. At sunset the women and children forever.’ Lily Roy young girls performed a wajarra ceremony Milingimbi Art and Culture, Arnhem Region at the monumental rock in Handover Park This event was a defining moment, which Wukun Wanambi in Daguragu. In 1975 this was the site led to the passing of the Land Rights Act Buku-Larrnggay Mulka, Arnhem Region Jennifer Dickens where Gough symbolically poured soil (Northern Territory) of 1976, generating Mangkaja Arts, Kimberley Region into the hands of Gurindji leader, Vincent momentum for the broader Aboriginal land Dora Griffiths Lingiari - an iconic moment in Australian rights movement. Waringarri Arts, Kimberley Region land rights history, famously captured by Brian Farmer Jilamara Arts and Craft, Tiwi Region photographer Mervyn Bishop. Eighteen elders, artists and members of the John Peter Pilakui family of Vincent Lingiari travelled thousands Individual Member, Tiwi Region Senior artist and Traditional Owner, of kilometres to pay their respects at the Miriam Charlie Theresa Yibwoin recalls: State Memorial Service held at Sydney Waralungku Arts, Darwin/Katherine Region Town Hall. It was an emotional moment Jangu Nundhirribala Numburindi Artists, Darwin/Katherine Region ‘I remember big mob dancing … big mob when Paul Kelly and Kev Carmody men, big mob women… big mob culture played their anthem, From Little Things Big ANKAAA Stand-In Directors ceremony. I was young woman, dancing Things Grow, under the projected image Kevin Winunguj to welcome that big boss for country. Last of Mervyn Bishop’s photograph. Elder, Maningrida Art and Culture – Arnhem Region night I danced farewell dance.’ Michael George, commented, ‘As a Maxine Charlie Nagula Jarndu Designs – Kimberley Region mark of respect, Gurindji people will now Douglas Vivian Warlapinni In 1966, Vincent Lingiari initiated a refer to this man as ‘Kulum Whitlam’. This Tiwi Design – Tiwi Region workers’ strike to protest against the poor great man helped us get better wages, Alan Joshua Jnr Ngukurr Arts – Darwin/Katherine Region conditions on Wave Hill Cattle Station health, education and housing and, most and a claim for their traditional lands. importantly, gave us our land back. Our ANKAAA Staff (2015) The Gurindji campaign went on for people pay their respects to the family of Chief Executive Officer nine years until Prime Minister Whitlam’s Kulum Whitlam.’ Christina Davidson: [email protected] visit on 16 August 1975 where he Manager Operations Delivery Strategic appointment Jan-Jun 2015 (0.5) ceremonially proclaimed: David Ham: [email protected] Paul Kelly and Kev Carmody perform their anthem ‘From Little Things Big Things Grow’ under the iconic Administration Manager/PA to CEO Mervyn Bishop image of Vincent Lingiari and Gough Whitlam during the State Memorial Service Photo: Belinda Foster: [email protected] Karungkarni Art and Culture Centre Resource and Development Officer Jonathan Saunders: [email protected] Resource and Development Officer Frances Grant: [email protected] Resource and Development Officer (0.5) Anisha Stitfold: [email protected] Operations Officer(0.5) Madeleine Challender: [email protected] AWEP Graduate Program Coordinator & AWEP Officer(P/T) Dion Teasdale: [email protected] DAKP Support Program Officer (P/T) Guy Hancock: [email protected] NT Arts Infrastructure Projects Manager (P/T) Paul Nowland: [email protected]

28 ARTS BACKBONE – OBITUARY Volume 14: Issue 2, December 2014/January 2015