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Welcome from the ANKAAA Chairperson -Djambawa MarawiliDarwin OfficeGPO BOX 2152, DARWINNORTHERN TERRITORY, AUSTRALIA 0801Frogs Hollow Centre for the Arts56 McMinn Street, Darwin, NTPh +61 (0) 8 8981 6134Fax +61 (0) 8 8981 6048Email info@ankaaa.org.auwww.ankaaa.org.auwww.aboriginalart.orgAll text and images are copyright the artist,Art Centres or ANKAAA (as indicated) unlessotherwise stated. ANKAAA Arts backbone is© ANKAAA 2009.The views & opinions expressed in this publicationare those of the authors & do not necessarilyreflect those of ANKAAA.ANKAAA is a non-profit incorporated AboriginalAssociation.General Editor: Christina DavidsonANKAAA is proudly supported by:ANKAAA has a new future tobe developed and an importantjourney to go on with a new Boardof Directors and new staff. We willwork together hand in hand goinginto the coming year (2009-2010).We need to strongly respect eachother and the journey we will begoing on. This will be a reallyimportant journey for the staff andDirectors and their opportunityto learn. The Directors carry newleadership for their individual ArtCentres and the membership. Theirleadership will be very strong anda fair way of dealing with theorganisation.On the other end the economy is goingdown. But from our economy in the artswe have more to develop and build. Idon’t know what will happen in the nextfive to six years. We need to balance thevalue of our lives and of our economy.Otherwise we will all go down. We needto have strong self management andself sufficiency for caring for the countryand the stories and the significantsites. Really working and sharing theknowledge of this land and sea. Weneed to really work hard side by side,to hand on these resources, the landand also sea. Both Yolngu (Aboriginalpeople) and Napagi (non-IndigenousAustralians) should be caring for theland and the sea. Not damaging it, butcaring. Working and not killing the landand sea, that way we can both manageAustralia, Yolngu and Napagi: The landand sea can be freely saved up for thenext people who are coming up.We need the Homelands (Outstations/Communities on country). The patternsand designs are all coming fromthe land and from the sea in theseHomelands, where the rocks and waterholes are. We have our countries forindividual clan nations and tribes. Weneed a Homeland where we can smellfresh wind, collect and eat fresh foodand have healthy, strong living. It is animportant place. When we are on otherpeoples country it is really hard to goback there because we feel we have lostour connection to that land, to thosepatterns, stories and designs. We needto keep our Homeland as a base. Weneed to be at the region where ourclans and their patterns and stories anddesigns come from. It is really importantthat the people develop their ownhomelands, care for the country anddevelop jobs in their own country. Jobsfor those young people who want tocome back to their homelands. Jobs likemanaging the office, managing funding,shops, ranger programs, tourism, artpractice, environmental programs,developing fishing industries, andteaching (the school is really important).That way our kids can learn English andget further education. That is the firstkey to go and get real jobs.2 Arts Backbone Volume 9: Issue 1 June/July 2009

Establishing a Culture Centre in GapuwiyakBy Tara Leckey, Interim ManagerGapuwiyak Culture and Arts AboriginalCorporation’s Mission:‘We strengthen our culture and ourcommunity by learning from ourpast and leading the way for ourchildren’In late 2007, the community ofGapuwiyak (Lake Evella) in East ArnhemLand formed a new independent culturalorganisation to support all aspects ofcontemporary cultural life including artsand crafts, cultural research, archiveand documentation activities, language,new media, music, performance andceremony.The new corporation was seeded bythe Gapuwiyak Community Council toensure that local Yolngu maintainedindependent control over culturalissues and activities during a time ofsocial and political uncertainty underthe Federal Intervention and the NTGovernment’s Shire amalgamations inmid 2008.Nine months on, the dust now settled,the new corporation has found supportfrom both Federal and Shire personnelin the community as well as from theArnhem Land Progress Association(ALPA), government funding agenciesDEWHA, DEEWR, Arts NT and ofcourse, ANKAAA. The GapuwiyakCulture Centre building is almostcomplete and it is anticipated thatthis will be leased to the corporationunder a peppercorn arrangement forat least five years. Office furniture andequipment purchased with a NationalArts and Crafts Industry Support (NACIS)grant (2008-2009) has been set up,and a one off grant from ALPA is beingbrokered through the Australian CulturalFund. This will be used to developa retail space in the culture centreand marketing materials, including awebsite.A key project in the past six monthshas been the development of theGapuwiyak Fibre Collection, funded byArts NT. The project is complete and afeature article about the collection willappear in the next issue of the ANKAAABackbone.The recent announcement of capitalfunding to build a staff house,acquired for the new Art Centre byANKAAA from the Aboriginal BenefitsAccount, will enable the corporationto recruit staff. NACIS is funding startup of an Arts and Crafts Coordinatorposition. And ANKAAA has helpedthe Art Centre secure twelve monthsbusiness development support from theDepartment of Eduction, Employmentand Workplace Relations (DEEWR)through the ISBF fund.Although there is still a long way to gobefore Gapuwiyak Culture and Artsis fully established, steady progresshas been made over the past fifteenmonths and the community is excited.At the recent inaugural AGM of theCorporation the committee grew fromfive Directors to twelve Directors, themaximum number allowed!The official opening of the CultureCentre was enthusiastically celebrated bythe Gapuwiyak community on 20 June.Top: The Gapuwiyak community celebrates theopening of their new Art & Culture Centre withGawirrin Guman AO and Minister MalarndirriMcCarthy, Member for Arnhem Land, 20th June.Photo: ANKAAA.Left: Gapuwiyak Culture and Arts AboriginalCorporation’s inaugural AGM. Photo: Tara Leckey.4 Arts Backbone – ART CENTRE FEATURES Volume 9: Issue 1 June/July 2009

Forty Years of Bima WearBy Steven Moorenews at http://bimawear.wordpress.com/. Aftercompleting recent computerworkshops (provided byANKAAA through a grantfrom the Backing IndigenousAbility Program of theDepartment of BroadbandCommunications andthe Digital Economy)staff regularly update theinformation.This year marks the 40thanniversary of Bima Wear based atNguiu Bathurst Island. Bima Wearstarted with just ten dollars in thebank back in 1969, with the helpof Nguiu’s Sister Eucharia. Sincethen, Bima Wear has become thelargest independent employer onthe Tiwi Islands.A function hosted by the Territory’sAdministrator Tom Pauling AO QC willtake place in August at GovernmentHouse Darwin. It will be a greattime to celebrate and reflect on theachievements and hardships this smallbusiness has experienced.In a changing world 40 years is anexceptional length of time for anybusiness to maintain viability and BimaWear’s history has not been withouthardship. The business has had tocontend with adversity often and thewomen have continued to perseverethroughout, in order to make theirbusiness strong. In 2004 the Tiwi LandCouncil issued the Tiwi Islands LocalGovernment a twenty-year lease overthe Bima Wear building. They did notconsult stakeholders and effectivelytook away the women’s main businessasset. The building was built with agrant from the Aboriginal Benefits TrustFund and Department of AboriginalAffairs in 1977 and opened by the thenAboriginal Affairs Federal MinisterFred Chaney.The workers remain loyal to their BimaWear business, which employs thirteenfull time Tiwi women. The centre haseight staff who have worked there forthirty years and three senior women withforty years service!Strong traditional Tiwi motifs andmagnificently vibrant colours makefor the immediately recognisable anddistinct Tiwi style. The main business ofBima Wear is to create hand printedfabrics, to produce clothes, gifts, teatowels, tablecloths and fine art prints.Local people shop at Bima Wear andproudly wear the beautiful designsto special occasions. The designsare rapidly becoming iconic in aninternational sense.Bima Wear has launched its’ longawaited website, online shop and blogsite. People can now buy productsdirectly online at www.bimawear.comand find out the latest Bima WearThree Bima Wear staffrecently travelled to Adelaidefor WOMADELAIDE 2009.Womadelaide is one eventin the calendar of Worldof Music, Arts and Dance (WOMAD)festivals that take place throughout theworld. The trip helped promote BimaWear to reach a wider audience. Bimawomen not only produced clothing andgifts for the festival, but also gave manyvisitors a screen printing demonstration.There were special Tiwi dances andsinging performances throughout thefestival.The Bima ladies are eagerly anticipatingrelease of ABA funds which ANKAAAapplied for on their behalf, to upgradetheir work facilities, as many screens arenow either too old or dilapidated fromdemanding usage. New equipmentwill invigorate production and providecustomers with a new range of inspireddesigns and even more reasons to buyBima Wear!Standing, left to right: Mona Lisa Kantilla, NoellaBabui, Agnes Mary Portaminni, Jocelyn Black,Genevieve Portaminni, Clara Apuatimi, MaritaKantilla, Thomasina Poantimilui, Greta Kerinaiua,Josie Tipungwuti, Antoinette Tipiloura.Seated, left to right: Rosemary Tipungwuti,Noreen Kerinaiua, Lucia Pilakui, JosephaKantilla, Dehlia Puautjimi.Absent: Felicity Pilakui, Margaret Rose Apuatimi.Photo: Courtesy BimawearVolume 9: Issue 1 June/July 2009 ART CENTRE FEATURES – Arts Backbone 5

Mulka CentreBy Will Stubbs, Buku-Larrnggay Mulka CentreLARRAKITJKerry Stokes CollectionThe Mulka Centre - the multimediadigital archiving and productionstudio attached to Yirrkala's Buku-Larrnggay Mulka Centre, hasattracted national attention again.The Australian Film Television and RadioSchool (AFTRS) have arranged to delivera filmmaking workshop here. AFTRSwere impressed by ‘Nhäma! ShortFilms from Yirrkala Northeast ArnhemLand’ a DVD which shows twelve films,created in Mulka's first twelve months.Graham Thorburn who is the Head ofScreen Content at AFTRS and CatherineMillar the Head of Directing, will run thedigital archiving and production studioworkshop together with twelve Yolnguwho have gained experience in editing,cinematography and directing throughthe Mulka and Yirrkala CEC.The new coordinator at the Mulka ProjectRob Lane previously worked at LaynhapuyHomeland Schools where he establisheda digital film editing training capacity atGarrthalala School. Rob has degrees inboth filmmaking and education and willcarry on the work started by inauguralcoordinator Randin Graves who has had toleave due to family illness. Rob said, “it willbe a wonderful opportunity to work with anelite cutting edge school in exploring thecinematic possibilities of the region.”Last year a film from The Mulka Centrewon a prize in the Telstra NationalAboriginal and Islander Art Award.Another new local short feature 'Bayini'is listed to screen at both the Woodfordand Garma Festivals.Rob said the Mulka Centre will continueto be open to all members of the localNhulunbuy, Yirrkala and homelandscommunities to come and view our films atthe theatrette, and allow us to digitize andreturn their photos from earlier days andcollaborate in media production projects.The Mulka Project is being guided by itsDirector Wukun Wanambi, one of themost admired artists of Buku-Larrnggayand a leader of the Marrakulu clan.The new DVDcompilation – NhamaGa Ngama willpremiere at the GarmaFestival of TraditionalCulture at Gulkula,North East ArnhemLand in August. See:www.yirrkala.com/mulka/index.htmlLeft Top: Yilki Guyala andBamurungu Mununggurrfilming 'Girls Going Hunting'.Photo: Randin Graves, Buku-Larrnggay Mulka Centre.Left: GamalamburrWunungmurra of WandawuyHomeland Community Schoolrecords recess. Photo: RobLane, Buku-Larrnggay MulkaCentre.In late 2000 Andrew Blake theCoordinator at Buku-LarrnggayMulka Centre, contacted AnneBrody, Associate Curator of theKerry Stokes Collection to see ifthere was any interest in a largegroup of Larrakitj that had comeinto the Art Centre.Andrew left to pursue his own artcareer in Tasmania shortly afterwardsand a decade of collecting polesbegan with the new Coordinator WillStubbs. A group of around thirty poleswere acquired by the collection inearly 2001. Andrew’s initial contactstarted a relationship betweenBuku-Larrnggay and the Kerry StokesCollection, which eventually saw amassive curatorial undertaking ofassembling a collection of almost onehundred Larrakitj.In February this year DjambawaMarawili sang open this exhibitionsimply titled Larrakitj at The Art Galleryof Western Australia.By the time the works were assembledin Perth a number of the originalartists had passed away. People likeTelstra Art Award winners YanggarrinyWunungmurra and DjutjadjutjaMununggurr, senior ritual specialist,Dula Ngurruwuthun and Madarrpa6 Arts Backbone – ART CENTRE FEATURES Volume 9: Issue 1 June/July 2009

By Will Stubbs, Coordinator Buku-Larrnggay Mulka CentreSo the AGWA exhibition was in one sensethe pinnacle of a long and dramatic storyof collaboration between artists/Art Centreand patron. But, characteristically, there isa sense in which the story is just beginningas plans evolve for the international tour ofLarrakitj and a possible showing at a majorarts event on the East Coast of Australia.clan leader Bakulangay Marawili willnever make sacred art again.Over the long time span of theacquisition of the works new artistsemerged, people like GunybiGanambarr, the 2008 Xstrata EmergingArtist Award winner and DhurrumuwuyMarika and Yalanba Wanambi,participants in the two ‘Young Guns’exhibitions at Annandale Galleries. Thelast pole exhibited with the Collectionarrived just as the show was beinginstalled. It was a work by two-timeTelstra 3D winner (1987, 2006) BalukaMaymuru.Gawirrin Gumana, Naminapu Maymuru-White, Gulumbu Yunupingu, DjirrirraWunungmurra, Gunybi Ganambarr andBaluka Maymuru all win major art prizeswith Larrakitj over the period. Therewere also numerous groundbreakinginstallations, exhibitions and displaysfeaturing Larrakitj during this time. Theseincluded works in London, the NorthernTerritory Supreme Court, Sydney OperaHouse, Queensland’s Gallery of ModernArt, Pier2/3 Walsh Bay during the SydneyBiennale, Paris and most notably onthe edge of the escarpment during theGarma Festival on two occasions.Larrakitj was part of the Perth Festivalof The Arts that made arrangementsfor ten artists and leaders to attend andceremonially open the exhibition. Alsoshowing at AGWA was an exhibitionentitled ‘Everywhen’ curated by youngIndigenous curator Chad Creightonthat featured a beautifully selected andpresented survey of Yirrkala work fromthe AGWA’s Louis Allen collection of the1950s-70s.Top, opposite page: Baluka Maymuru. Photo:Copyright Robert Firth/Acorn Photography.Above: Larrakitj Kerry Stokes Collection. Photo:Copyright Robert Firth/Acorn Photography.Below: Djambawa Marawili, Waturr Gumanaand Baluka Maymuru singing open the exhibition.Photo: Copyright Robert Firth/Acorn Photography.In 2000 Memorial poles were an artform, that had only really come to noticein the art world through the more westerlymanifestation of Lorrkon in Djon Mundine’sBicentennial Memorial from Raminginingartists at the National Gallery of Australia in1988. Lorrkon is the word used in CentralArnhem Land for Memorial poles known asLarrakitj in Eastern Arnhem Land. Larrakitjhold and contain the bones of deceasedpeople whilst their spirit returns to thewater they originate from. They are termitehollowed ochre painted eucalypt trunks.Inspired by the interest and patronagestemming from Kerry Stokes Collection,the Buku-Larrnggay artists ventured intoan exploration of the form which sawVolume 9: Issue 1 June/July 2009 EXHIBITIONS – Arts Backbone 7

John Mawurndjul Survey 1979-2009By Apolline Kohen‘Everything old is new’By Suzette Wearne andBundine ‘Thomas’ NabegeyoJohn Mawurndjul and his wifeKay Lindjuwanga travelled toCanberra to attend a retrospectiveof Mawurndjul’s work that spansthirty years of his artistic career.Presented at the AustralianNational University Drill HallGallery, the exhibition featuresbark paintings and etchings he hasproduced in the past few years.The artworks are drawn from bothpublic and private collections and reflectMawurndjul’s artistic development andhow he has revolutionised Kuninjkuart. The exhibition comprises earlysmall barks depicting animals suchas kangaroos, the more complexmythological figures he did in thelate 1980s and early 1990s and hisrecent works concentrating on abstractrepresentations of important places onhis clan estate.In addition to these works, over twentyetchings created between 2004 and2007 are shown together for thefirst time. These works reveal howMawurndjul has fully embraced therange of possibilities offered by this newmedium to express his favourite subjectmatters in a different way. The exhibitioncatalogue John Mawurndjul. Survey1979-2009 accompanies the show.The exhibition attracted a large crowdat the opening. It was also a goodopportunity to launch the book BetweenIndigenous Australian and Europe: JohnMawurndjul published by AboriginalStudies Press. This book grew outof an international symposium heldat the Museum Tinguely in Basel in2005 on the occasion of the exhibition – John Mawurndjul.Journey through time in NorthernAustralia.Contributors to the book include JonAltman, Sally Butler, Apolline Kohen,Howard Morphy, Judith Ryan, LukeTaylor and Paul S.C. Taçon. Themonographs – JohnMawurndjul. Journey through timein Northern Australia and BetweenIndigenous Australian and Europe:John Mawurndjul are available fromManingrida Arts & Culture, www.maningrida.com.Left: John Marwundjul with Drill Hall GalleryDirector, Ms Nancy Sever. Photo: A.Kohen.Below: John Marwundjul works, Drill Hall Galleryinterior. Photo: A.Kohen.The next wave of West ArnhemLand painters at Injalak Artsworked in earnest on paperand bark for the annual‘30 Under 30’ exhibition atMossenson Galleries in Perthand Melbourne. Several ofInjalak’s most talented youngartists were selected for thisexhibition in May/June whichprovides a survey of the artistryof thirty Indigenous artists underthe age of thirty, in communitiesand urban centres throughoutthe country.Despite growing up in times ofsustained contact with ‘balanda’(non-Aboriginal people), in acommunity with many of thedistractions associated withcontemporary life, the youngerKunwinjku painters at InjalakArts use their art to assert theimportance of ancestral storiesand traditional lifestyle. It is largelydue to the unique ‘apprenticeshipsystem’ supported by Injalak Artsthat artists like Joey Nganjmirra,Maath Maralngurra and TimothyNabegeyo are able to do this. Joey,for instance, learnt to paint underthe guidance of an artist recognizedas one of Injalak’s most senior andrespected, Thomson Yulidjirri.Each of the artists involved hasenjoyed painting on larger thannormal scale works for ‘30 Under30’, and has taken the opportunityto develop and show their individualstyles. Maath Maralngurra, son ofGabriel Maralngurra and grandsonof Bardayal ‘Lofty’ NadjamerrekAO, expresses his pedigree with adepiction of Ngalyod, The RainbowSerpent in his own striking anduncompromised way. Joey hasrendered abstract designs fromthe lorrkon (hollow log) used for8 Arts Backbone – EXHIBITIONS Volume 9: Issue 1 June/July 2009

The Pandanus ProjectBy Fleur Parry, Djilpin Artshis father’s funeral ceremony in onepainting and an Oenpelli Rock Pythonlocked in fight with a kangaroo inanother. ‘I’m painting my way, no-oneelse paints like this,’ he says. ‘Otherpeople can see how we paint herein Gunbalanya, like our fathers andgrandfathers. But us young fellas aretrying new things too.’Below: Nawarran (Oenpelli Rock Python) andKunj (Kangaroo) by Joey Nganjmirra. Photo:Injalak Art.Bottom: Ngalyod (Rainbow Serpent) by MaathMaralngurra. Photo: Injalak Art.The Pandanus Projectcommenced in the winter of2008, when Djilpin Arts teamedfibre artist Adrienne Kneebonewith weavers from Beswickcommunity. Adrienne workedwith the women at GhunmarnCulture Centre over a six monthperiod, developing new ways toengage women’s traditional fibreskills. Training was funded by theDepartment of Employment andTraining with the Fred HollowsFoundation coming on board tosupport an exhibition of the newwork at Self Preservation Galleryin Bourke Street, Melbourne inJanuary and February.The exhibition featured twenty sixnew fibre works and the ‘Gapu,Series II‘ of etchings by Beswickartists and printmaker Basil Hall.Artists Sarah Bidingal Ashley, LucyCameron and Roy Ashley travelled toMelbourne for the opening togetherwith Ghunmarn’s four local artsworkers Revonna Urban, AugustinaKennedy, Chantelle Doctor andSasha Lindsay. The exhibition thentravelled to Darwin, where it featuredas Nomad Arts first show for 2009.A collection of Sarah Bidingal’s workwas acquired by Charles DarwinUniversity.While Sarah Bidinal Ashley hasbeen weaving baskets and matsfor many years, her new works arefigurative and tell the stories of hercountry, culture and spiritual beliefs.Her Mukuy or Buhl-mandi are spiritcreatures, but unlike playful Mimi spirits,they are dangerous. They belong inYirritja country called Galanbirni. Sarahsays that at night you can hear themplaying didjeridu. They can play withyour mind and make you lose your wayin otherwise familiar country. Sarahhas also varied her forms to includemermaids, traditional message sticks,dilly bags featuring sugarbag waxas well as ready-to-wear pandanusbuckled belts. Adrienne Kneebonereturns to Beswick and Bulman this yearto continue working with the weavers.Above: Sarah Bidingal Ashley at Self PreservationGallery, Melbourne, January 2009. Photo:Adrienne Kneebone.Volume 9: Issue 1 June/July 2009 EXHIBITIONS – Arts Backbone 9

Yalangbara: The Story of CreationBy Banduk MarikaYalangbara: Art of theDjang’kawu, edited by MargieWest, is an exciting and veryimportant new book recentlylaunched at Government House,Darwin. Banduk Marika togetherwith the Rirratjingi clan ofNorth East Arnhem Land andThe Museum and Art Gallery ofthe Northern Territory workedvery hard and closely togetherover the last three years topublish this book.The book focuses on the importantancestral site of Yalangbara (PortBradshaw), some 210 squarekilometers of land and coastal watersadjoining the Gulf of Carpentariasouth of Yirrkala. It strongly examinesaspects of Yolngu aesthetics,history, ancestral tradition, custodialrelationship to land and copy rite,and depicts artwork of the creativeactivities of the Djang’kawu (thethree powerful supernatural beings,a brother and two sisters who namedYalangbara) by three generations ofthe Marika artists including Mawalan1, Mathaman, Milirrpum, Roy,Wandjuk, Banduk, Dhuwarrwarr,Mawalan 2, Jimmy Barrmula andWanyubi Marika.In Banduk Marika’s words;‘Yalangbara is a project that I thoughtabout back in 1989-90. I wantedto see it become a reality becauseYalangbara is the most importantsite in the North East Arnhem Landfor the Dhuwa moiety people. It’sthe site where the first ancestors, theDjang’kawa landed, and people asfar away as Western Arnhem Landand south down to Numbulwar referto Yalangbara as the place of the firstpeople, the first people who were bornor created there – these people wereRirratjingu, my own family group…In the context of environmentalimportance and heritage, I thoughtthat Yalangbara should be listed onthe national estate…So I started working towards theheritage listing with Colin Lane atLandcare in 1999…So this was done and finallyYalangbara was listed in 2003 on theAustralian Heritage Commission’sregister of the national estate…So it was always in my mind to followthrough with the second stage, apublication then an exhibition onYalangbara. This story is importantand this is why our fathers paintedall these artworks, to show how thesepaintings relate to particular sitesand what they mean. At the time theydid not have a translator to tell theirstories properly and so we want totell their stories properly now andhopefully, through this publication,Yalangbara will get the protection andthe recognition it deserves.’ 1 …‘This publication is like enteringinto our parliament – the Rirratjinguparliament – we are giving the publicaccess to information that has beenforbidden for thousands of yearsbecause it is time to show everyonethat Yalangbara is important.’ 2The significance of this book launchwas underlined by the re – enactmentof part of the Djang’kawu dancecycle, usually performed as part ofa Narra ceremony. A public seminarwas also held at MAGNT. MAGNTis currently developing an exhibitionof the Rirratjingu clan in partnershipwith the National Museum of Australiascheduled for late 2010.The book is available at MAGNT andCharles Darwin University Bookshop.Above left: Banduk Marika speaking at booklaunch at Government House, Darwin. Photo:Margie West.Above right: Yalmay Yunupingu, commencingre-enactment of Djangbara dance cycle,Government House, Darwin. Photo: Margie West.1 Banduk Marika Yalangbara:Art of the Djang’kawu.2 Yalangbara Book Launch Press Release.10 Arts Backbone – Books Volume 9: Issue 1 June/July 2009

Mowanjum: 50 years of Community HistoryBy Steven Moorethe Worrorra, Ngarinyin and Wunambaltribes have lived there.1000 nearly sold out plans are afoot toprint a second edition of the history.MOWANJUM: 50 years ofcommunity history published bythe Mowanjum community inassociation with Fremantle Presshas been successfully launched bythe Minister for Aboriginal Affairsand Deputy Premier Dr Kim Hamesat The Lawrence Wilson Gallery inPerth, and at Gleebooks in Sydneywith guest speaker Phillip Adams.Over 200 people attended the Perthlaunch of this fascinating book withcommunity leaders Nelson Barunga.Eddie Bear, Chairman of MowanjumCommunity and Donny WoolagoodjaChairman of MASWAC present.Vinka Barunga granddaughter of famousWorrorra Mowanjum leader, activistAlbert Barunga, read from the bookan extract by Hugh Edwards recordingBarunga’s description of anguisheddislocation in the Northern Kimberley toforced resettlement near Derby in 1956.Mowanjum community was establishedafter the Presbyterian Board of Missionspurchased land near Derby. Since thenSo how did the book come about? Itbegan with research being undertakenby historian Dr Mary Anne Jebb inpreparing an archival collection for theMowanjum Art and Culture Centre.With research funded by the WALotteries Commission a large volume ofhistorical material began to amass.Mowanjum Artists Spirits of theWandjina Aboriginal Corporationmembers, Council members and othersin the community recognised thatthe collection of old photoraphs andrecordings of traditional culture andpersonal stories from the past was thebasis for a book that could do manythings for the community. It was, assuch, an effort to move away from thebackground of a tragic situation ofcultural dislocation, through a positiveact to ensure the history and culture ofpeople of the region is kept intact forfuture generations *When not enough money was availableto produce the book the artists ofMowanjum decided to ‘paint the money!’Senior artists, Donny Woolagoodjaand Gudu Mungulu completed a largepainting that was auctioned at Sotheby’sin November 2007. The saleprovided a sum of $35,000allowing the publication togo ahead. The painting wasbought by a Los Angeles basededucational facility where it is nowheld. With an initial print run ofMowanjum Art and Culture CentreManager, Jenny Wright notes fondlythat the best launch of the book was atMowanjum, where every family from thecommunity was present and receivedcopies, a wonderful moving experiencefor all involved.The Mowanjum Art and Culture Centreis currently completing the second stageof it’s building and will be a major focalpoint of the communities’ developmentupon completion.Below left: Painting auctioned at Sotheby’s by DonnyWoolagoodja and Gudu Mungulu assisted byGabriella Dolby, Leah Umbagai, Mildred Munguluand Margaret Mungulu, depicting the three mainWandjinas, Namarali, Wannalirri, and Rimmijmuddu.Also included are all Ungud animals andrepresentations of Wodoi and Jungun, the nightjarbirds which denote the Wunan marriage moieties.Several other important law aspects are also included,including Dumbi (owl), Jilinya (female spirit), andNgallagunda (snake dreaming). Photo: Mowanjum.Below: MOWANJUM: 50 years of communityhistory cover courtesy of Freemantle Press 2009.Top: Vinka Barunga with the minister for AboriginalAffairs and Deputy Premier Dr Kim Hames at thelaunch of Mowanjum: 50 years community history.Photo: Dr Mary Anne Jebb.Volume 9: Issue 1 June/July 2009 Books – Arts Backbone 11

‘Marranbala Country’book by Simon Normand withMaureen Marranulu ThompsonArt Worker Focus, ScottDixon, Warnayaka Arts,By Louisa ErglisMarranbalaCountry is abeautifully presented newbook that documents storiesfrom the Roper River region andthe Gulf of Carpenteria from thearrival of the cattle industry andthe missionaries, to current activityto keep traditional culture alive.The book is focused around storiesabout artist Maureen MarranuluThompson’s extraordinary life growingup in the Roper Mission in the 1930’stold through her words, paintingsand via compelling photographs ofMarranbala Country. Thompson, 78, isa traditional owner and one of only ahand-full of people who now speak theMarra language.The book focuses attention on the factthat people of Ngukurrr still have reallystrong relationships to the land andincludes recent paintings by GertieHuddlestone, Amy Jirwulurr Johnson,Betty Roberts, Sambo Barra Barra,Faith Thompson Nelson and AlanJoshua Junior from Ngukurr Arts. Thebook also includes maps examiningMarra Country from an Indigenousperspective. Ngukurr elder KevinNumumurrdidi Rogers said: ‘It is veryimportant to get recordings and storiesbeing told about the people of theMarra tribe.’Marranbala Country was launched atthe Northern Territory library on 30April with an exhibition of paintings,photographs and archival maps and aperformance by the Wagilak Songmenfrom Ngukurr (now part of PaulGrabowsky's Australian Art Orchestra).Built on the site of the old Roper Missionin the 1960’s the NT township of Ngkurris just 100 meters on the other side ofthe river from Marra Country locatedin the area soon to be the new LimmenNational Park. Its people continue to useMarra Country for fishing and hunting,and retain guardianship over its waterholes and other sacred places.Above: Maranbala Country book.Below: left, Maureen Marranulu, Right, MarranbalaCountry Map. Photos: Simon Normand.Scott Dixon has been workingat Warnayaka Art Centre forabout 6 months and startedon CDEP. He is a great workerand because of his positiveattitude and willingness tolearn anything new he hasbeen offered a permanent parttime position.Scotty is the Trainee Floor Manager.He stretches canvas, looks after theartists and does minor repairs inthe Art Centre. Scott looks after allaspects of the painting floor. He hasbegun learning computer skills andlearning Adobe Photoshop. He isnow our main photographer of ourart for our cataloguing process.Scott also paints as an Art Centremember learning from his seniors,He is pretty excited about the newoutdoor area we will be constructing.And has already marked all the newwood working tools and started atool register.Above: Scotty Dixon. Photo: Warnayaka Arts.12 Arts Backbone – Books Volume 9: Issue 1 June/July 2009

Community Museums: Muluwurri Museum, MilikapitiBy Margie WestIn the Northern Territory thereare a number of importantcommunity museum collectionssuch as the Muluwurri Museumat Milikapiti, Melville Island. Aswell as being important culturaland educational resources for thecommunity, these museums arealso important tourist attractions.As time goes by their collectionsbecome increasingly more importantas records of community history andartistic endeavor, though their exactmeaning and value is not always fullyunderstood. To assist in this processthe National Library of Australia offersCommunity Heritage (CH) grants toassess the significance of culturalheritage objects and collections. In2008, Jilamara Arts & Crafts wassuccessful in obtaining a CH grantand I was subsequently engagedto undertake an assessment of theMuluwurri Museum and its collection.The majority of the collection wasassembled between 1987-88, and is asignificant snapshot of the items madeby high profile artists from the veryfoundation period of Jilamara Artsand Crafts. Along with an importantrange of ceremonial items: burialpoles, bark baskets, body ornaments,spears and figure carvings, thecollection houses some impressiveearly masonite murals from theWelfare period and a substantial printcollection begun in 1994. An importsocial history component is providedby the service medals awardedto Harry “One” Mungatopi of thecommunity’s Tiwi ‘Black Watch’ in theSecond World War.Twenty years on, the assessment ofthe cultural, historical and artisticvalue of the Muluwurri collection wastimely and resulted in other relatedoutcomes such as the cataloguing anddocumentation of the collection, avaluation for insurance purposes, thedevelopment of a policy collectionsmanagement resource and suggestedfuture options to be developed furtherwith in-depth community consultation.The heritage assessment reportwas submitted in a grant proposalfor a purpose-built museum facilitythat has been recently awardedto Jilamara Arts & Crafts. Havingdone their assessment means thatJilamara is now in a good position toproperly plan toward the new display/interpretation/storage/conservationand collection development of theircommunity museum. The culturalheritage assessment is therefore avaluable tool for any communitywishing to better appreciate anddevelop their existing heritagecollections.Art centres interested in thesignificance assessment processcan access two useful publicationsavailable on the National Library ofAustralia website: Significance - AGuide to Assessing the Significanceof Cultural Heritage Objects andCollections go to:www.collectionsaustralia.net/sector_info_item/5Sharing our stories - Guidelines forHeritage Interpretation (Chapter 5)found at: www.ntwa.com.au/SHARE_REPORT_2007_email_RGB.pdfThe Muluwurri Museum will berehoused as part of Jilamara Art’sforthcoming ABA infrastructuredevelopement project with fundingsecured by ANKAAA.Top: Muluwurri Museum. Photo: Jilamara Arts.Above: Object in community collection.Photo: Margie West.Volume 9: Issue 1 June/July 2009 KeEping Places – Arts Backbone 13

Becoming CuratorsBy Louise Hamby, Research School of Humanities, ANUexperience was to meet gallery staff andgain an understanding of their roles inthe development of the exhibition.The staff included Director Cath Bowdler,Linda Elliot, the Public Programs Curator,Curator Stephen Payne and MelanieEvans, the Indigenous Trainee for theexhibition Yarra.The upcoming exhibitionGapuwiyak MiyalkurrwurrGong Djambitjmala: Women WithClever Hands was the impetus forLucy Wanapuyungu, her daughterAnna Malibirr and grandson RyanMunungurr to fly south in April tobe part of two events, one at theAustralian National Universityand the other at Wagga WaggaArt Gallery.Women With Clever Hands is the firstexhibition of fibre work to be shownfrom women from Gapuwiyak and isbeing curated by Louise Hamby from theAustralian National University, assistedby Lucy Wanapuyungu. Supported byVISIONS development funding this showwill open in September 2010 at theWagga Wagga Art Gallery. It is unusualin that the national tour will includea small portion of the exhibition thatwill travel by Troop Carrier to selectedArnhem Land Art Centres. One of thesewill be the new Gapuwiyak Culture andArts Centre.With assistance from ANKAAA Lucyand Anna were first able to participatein a two-day workshop at the ResearchSchool of Humanities for graduatestudents in the course IndigenousCollections and Exhibitions. They werepart of a group of Indigenous curatorsthat included Lorraine Coutts fromMuseum Victoria, Joe Gumbula fromGaliwin’ku and Julie Gough fromTasmania, who are currently curatingexhibitions that are in various stages ofdevelopment. The workshop providedopportunities not only for the students tolearn about issues the curators thoughtwere important but also for the curatorsto gain insights from each other.As part of the intensive Lucy and Annaworked with a group of students withpieces from Gapuwiyak to explain theirselection criteria compared to the groupwithout their input. Lucy explained tothe students herconcept of oldstyles and waysand new styles.The secondportion of thestay involveda trip toWagga WaggaArt Gallery,partners in thedevelopment ofthe exhibition.Part of theThe highlight of the stay was acommunity meeting with local Wiradjuriartists and elders organised by theIndigenous Liaison Officer, Kelly Murray,from the Wagga Wagga Counciland the Gallery. This was held on thebanks of the Murrumbidgee River. Lucyand Anna demonstrated techniquesand showed work and materials fromGapuwiyak.The result of this meeting is thatWiradjuri women would like to cometo Gapuwiyak and learn from Lucy andothers. It is hoped that Women withClever Hands will help bring togetherthis two groups with a common interestin fibre and maintaining cultural values.Above: Wagga Wagga Art Gallery Director CathBowdler, Lucy Wanapuyungu and Anna Maliburr.Below: Community meeting with Wiradjuri artistsand elders, Murrumbidgee River, Wagga Wagga14 Arts Backbone – Projects and training Volume 9: Issue 1 June/July 2009

Artists get I.T!By Thisbie PurichWell it looks like everybody gotsomething different out the BIAcomputer training that ANKAAAhelped organise during the lastcouple of months and what abig job those trainers have donevisiting nineteen communities.Michelle Williams and Paul Suttondid the Top End, and Neville Kingvisited the Kimberley and SouthernNT region. The training comesfrom a grant ANKAAA appliedfor from the government BackingIndigenous Ability (BIA) program,which delivered two training days,each to nineteen Art Centres,with training taking place incommunities on laptops.Each trainer and art centre had a differentfocus and approach. Michelle and Paulfocused on skills utilizing photographyso people could take away finished workand develop an enthusiasm that mightlead to further interest in using computers.Neville’s training focused more onpractical skills the Art Centre staff neededfor running day-to-day business.I think everybody was surprised at howmuch ‘good stuff’ could be done on thecomputer.When Neville was working withMangkaja Arts at Fitzroy Crossing thegroup consisted of older traditionalowners from the surrounding areasof Fitzroy Crossing. The traineesresearched stock horses, westernclothing, cattleman's boots and Akubrahats using the Internet. Neville foundlots of people who previously had notused the Internet at all due to theirage and some men who refused to sitdown due to their lack of literacy andthe shame of not being able to reador write. Once they got going thoughthey became very keen. It was alsointeresting to hear traditional ownersexplaining their country as Neville tookthem through Google Earth. Peoplewere able to tell stories of totemsand events over hundreds of squarekilometres showing landforms andboundaries of their land.Whilst visiting other Art Centres suchas Mowanjum in Derby, Neville wasasked to teach the Art Centre staffsome skills on the computers to helpwith art centre business. He taughtMicrosoft Word, Excel and File makingprograms, computer virus protectionand the importance of backing up work.At Merrepen Arts, Daly River when theirInternet was down they learnt how tomake their own slide shows using PowerPoint. Of course, there was also plentyof help with learning some fun things aswell such as Internet sites for car salesand using the web camera, and lookingat videos on YouTube.Michelle and Paul gave everybodysome great training as well and taught190 people at 13 centres. During theirtraining they taught people how to usea digital camera, make their own photopages, posters, signs, CD’s and ArtistsStories. People also learnt how to useemail and many people asked and gothelp with Internet banking.In some Art Centres people learnt howto make videos mixing photos of theirwork and their community with musicand their voice talking over explainingthings.Michelle and Paul also made sure theirtraining was practical. They gave goodadvice on what sort of camera andequipment to buy for remote use just incase batteries, spare parts or servicingis difficult. They also made sure thesoftware was compatible and easy touse. So it seems it was really worthwhileto do this training and would be worthdoing again in the future.Thanks to the hard working andtravelling trainers Michelle, Paul andNeville.Left: I.T. Training, Warlayirti Arts, Balgo. Photo:Neville King.Right: I.T. Training, Jilamara Arts, Milikapiti, BrianFarmer. Photo: Michelle Sutton.Volume 9: Issue 1 June/July 2009 Projects and training – Arts Backbone 15

Respect Our CultureYoung and Old People Working TogetherMardbalk Art &Craft Re-opensArtists from remote communitiesbuilding a strong Indigenous art industryRespect our culture. Young people and oldpeople working together.This project wassupported bythe Sidney Myer FundProject PartnersNAVA, Desart and ANKAAA acknowledgethe operational financial support of the Australia Council,the Department of Environment, Water, Heritage andthe Arts, the Northern Territory Government andthe Visual Arts and Craft StrategyArlpwe ArtsBuku LarrnggayBula’bula ArtsBulmanErnabe la ArtsInjalak Arts andCraftsIrrkerlantye ArtsJilkmingganJulalikari ArtsArtist: Miriam BaadjoArt Centre: Waralyirti ArtistsWorkshop: Waralyirti Artists, BalgoMedium: Acrylic on watercolour paperPhoto: Silversalt PhotographyParticipating Art Centres/CommunitiesKaltjiti CraftsKayili ArtistsKybrook FarmLayamanuManyalalukMerrepenMimi ArtsMimli Marku ArtsMunupi Arts andCrafts AssociationFor more information about this project contact the National Association for the Visual Arts E: nava@visualarts.net.au W: www.visualarts.net.au P: 02 9368 1900Project facilitator: Jill Gientzotis Poster design and print: ecoDesign ecoPrintNgurratjuta Ilta Ntjarra ArtCentreNinuku ArtistsPapunya TjupiTanami DownsTangentyere ArtistsTimber CreekTiwi Design AboriginalCorporationTjala ArtsIn 2007 and 2008 the NationalAssociation of the Visual Arts(NAVA), in partnership withANKAAA and Desart, delivered theproject ‘Our Art: Our Culture’ forArt Centres to develop educationalmaterial about the art industry.Twenty eight community Art Centresparticipated in workshops withconsultant Jill Gientzotis documentingideas and business relationships thatare important to them. At the end of theproject NAVA produced twelve posers tocelebrate the strength and complexity ofthe industry and the vision of the artistswho drive it.The participation of Walyarti Artistsfrom Balgo in WA reflects their ongoingcommitment to self governance andsound planning. Walayirti artists putTjanpi Aboriginal Women’sBaskets And CraftsTjarlirli ArtsWarakurna ArtistsWaringarri Aboriginal ArtsWarlayirti Artists AboriginalCorporationWarlukurlangu ArtistsWugalarr (Beswick)Yuendemuforward the vision for their Art Centre‘to work with older people teachingthe young ones, so the young onescan do the paintings. When the oldpeople die the culture goes too, theirknowledge and their stories. So weneed to teach the children and youngpeople now so they know’.*The workshop at Warlyarti involvedyoung people and old peopleworking together and teaching eachother. The artists voiced principlesimportant to making their Art Centrestrong:Kinti Kinti (side by side)Indigenous and non-Indigenousstaff, committee members andartists work together to keepWalyariti strong. This also meanspeople from different communitiescoming to Walyariti.Purrka Purrka (slowly slowly)So that things are achieved slowly andcarefully, one step at a time to ensureeveryone can participate, any riskscan be managed and sustainability isachieved.Marrka Wangka (strong talk)Transparency in process andcommunication and ensuring thatinformation is accessible to themanagement committee to makeinformed decisions to keep theorganisation on track and to achieveits goals.*The ‘Our Art Our Culture’ project wasfunded by the Sidney Myer Fund.* Text compilation from workshop, Jill Gientzotis.Above: Our Art. Our Art Industry poster. Paintingby Miriam Baadjo, Waralyirti Artists, Balgo,Acrylic on watercolour paper. Poster designed byecoDesign ecoPrint. Photo: NAVA.A re-opening celebration forMardbalk Arts and Crafts Centretook place on Saturday 21 st March.Located on South Goulbourn Island,Mardbalk Art and Craft supportsartists from the communities ofWarruwi (Goulbourn Island) andMinjilang (Croker Island).The celebration included: an officialribbon cutting; traditional singingand dancing; tours of the Art Centre;and a barbeque. Belinda Carlson isthe new Arts Coordinator and SelmaGolder is the Arts Assistant.The official ribbon cutting wasperformed by: traditional owner JohnnyNamayiwa, Councillor Ralph Blyth,senior artist Ralph Gumurdul, andsenior Warruwi resident Miriam Kris.Mardbalk has launched a newwebsite www.mardbalkarts.com.auand day tours to Mardbalk Art & Craftare available during the dry season(May-October).Below: Selma Golder with children and RalphGumurdul standing by his works. Photos: ANKAAA.16 Arts Backbone – News Volume 9: Issue 1 June/July 2009

Red Ochre Awardand One Year Celebration of Sea Rights VictoryWaringarri Artsat the Ord Valley MusterNorth East Arnhem Land Seniorstatesman and painter, GawirrinGumana AO, was presentedwith the prestigious Red Ochreaward in a ceremony at theSydney Opera house in June.The $50,000 Red Ochre awardrecognises Gumana’s distinguishedcontribution to Aboriginal andTorres Strait Islander arts at homeand abroad.The Australia Council’s Aboriginaland Torres Strait Islander Arts BoardChair, Dr Mark Bin Baker, paid tributeto Dr Gumana’s impressive career forseamlessly combining artisticexcellence with his powerfulspiritual and political concerns:‘The Red Ochre Awardcelebrates the achievements ofthose who have fought to keepIndigenous culture strong. Therecan be no more worthy recipientthan Gawirrin, who has beencreating art in non-ceremonialcontexts for more than 60years - longer than any otherliving artist,’ he said. Gawirrinis the oldest surviving artistwho contributed to the YirrkalaChurch panels in 1962/3.Among his many outstandingachievements is leading hisclan back to their homelandat Gangan and working withBukularrnggay Mulka in bringingtogether the Saltwater Collection of BarkPaintings of Sea Country (now housedin the National Maritime Museum,Sydney) as an important part of therecently successful campaign to achievesea rights for Aboriginal people in theNT (Gumana Vs Northern Territory ofAustralia, 2007).Gawirrin Gumana is pictured here(above) at the one year celebration of theSea Rights victory at Baniyala (Yilpara)homeland at Blue Mud Bay in June.Below: the Sea Rights flag and Sea Rightscelebrations. Photos: ANKAAA.Warringarri Aboriginal Arts,located on Miriwoong countryin Kununurra WA has been aleading Art Centre since it wasestablished by senior aristsin the mid 1980’s. In recentyears Warringarri Arts has beenparticularly distinguished in itscommitment to build and supportstrong Indigenous staffing andmanagement.The Aboriginal owned and controlledcentre operates as an artists’ studioand gallery supporting over 100visual artists and throughout the yearhosts traditional dance events for thecommunity which ‘complement thevitality of Mirawoong cultural identityand enrich the artists’ painting practice’.Manager Cathy Cummins observes‘song and dance is an intrinsic aspectof Kimberley cultural life, not just aspart of ceremony, but as entertainmentfor family and community.’At Ord Valley Muster time each MayWaringarri Aboriginal Arts hold aCorroboree night at which visitors areinvited to share the entertainment ofthe dance, enjoy traditional groundcooked beef, goanna, barramundiand damper and view art onexhibition and sale at the gallery. Theevent has become very popular forboth community and visitors.Below: Bali Bali Balga. Photo: Waringarri Arts.Volume 9: Issue 1 June/July 2009 News – Arts Backbone 17

Jilamara NewsBy Cher Breeze,Arts CoordinatorSales and Goals Achieved!Tiwi Art NetworkBy Brooke Ravens/Angela HillWe are coming up to a very busytime at Jilamara, with exhibitions,workshops and a film crewcoming to Milikapiti to make adocumentary featuring PedroWonaeamirri and Jilamara.Hetti Perkins Senior Curator of Aboriginaland Torres Strait Islander Art at the ArtGallery of New South Wales (AGNSW) ismaking a major three-part documentarytitled Art and Soul which focuses onher connections and experiences withcontemporary Aboriginal and TorresStrait Islander artists.Pedro has a long-standing friendshipwith Hetti. He has a suite of Pukumanipoles in the AGNSW collection and hasbeen interviewed by her on numerousoccasions for publications.Talking about films, an ABC film crewhave just finished filming here atKarslake. The story is about a manwith ten wives, his love and his life.Many Jilamara artists were involvedas actors. They had a great time andlook forward to seeing the film, whichis scheduled to program on ‘MessageStick’ later this year.Timothy Cook has recently beenaccepted to exhibit in the WesternAustralian Premier’s IndigenousArt Award 2009. This is a nationalart award highlighting the diversityand richness of Indigenous art fromacross the country. The main awardof $50,000 is the largest cash prizeof Indigenous art awards in Australia.Everyone at Jilamara wishes Timothy thebest of luck.The annual Footy Art Sale is hailedas the biggest event on the Tiwicalendar, and this year was noexception. It was held on Sunday22 nd March 2009, and coincidedwith the Tiwi Footy Grand Final.Once a year these strangebedfellows come together in amuch-anticipated celebration ofthe magical talent that is the Tiwi!Despite the wets’ intense heat, themood was jubilant as the determinedfootballers took to the field while earlierin the day local artists prepared thedisplays of work under the tin roof ofTiwi Design Aboriginal Corporation. Ina frenetic buying spree, sweaty shoppers– ranging from seasoned indigenous artcritics to eager first timers – immersedthemselves in the colour and designs.Hundreds of prints, paintings, carvings,fabrics, baskets and ceramics were onsale, showcasing the diverse talent andcreativity of the artists from the island’sthree art centres. The day was a greatsuccess and it was fantastic to see somany Territorians make the effort totravel to Nguiu and catch a glimpse ofTiwi life and culture.I would like to take this opportunity tofarewell Michelle Newton and QuentinSprague, who have been the ArtCentre Manager and Coordinatorrespectively at Jilamara Arts and CraftAssociation for the last two years.We would also like to welcome to therole Barry Hayes and Cher Breezefrom Grafton, New South Wales.Congratulations to you both andwelcome to life on the Tiwi Islands. Itis great to have a couple that bringa wealth of experience and positiveenthusiasm to the position.The Tiwi Art Network Gallery in Parapwill begin its dry season exhibitionprogram with an installation of TiwiDesigned tungas (bark baskets) titledMalapinyina. Lorraine Babui said,‘In the olden days bark baskets werepainted for Pukamani ceremony. Thedots represent people, we call thempwanga. The crosshatching representsthe scarring done for Kulamaceremony. The straight lines representthe body painting done for ceremony– we call them malapinyina. Mygrandmother taught me how to painttungas. I hope to teach my children sothey can carry on our Tiwi culture.’Below: Displays of work under the tin roofof Tiwi Design Aboriginal Corporation at theAnnual Footy Art Sale. Photos: Pamela Mills.Right: Painting by Timothy Cook ‘Kulama’ ochreon canvas, 2008, entered into the WesternAustralian Premier’s Indigenous Art Award 2009.Photo: Courtesy Jilamara Arts/Seva Frangos.18 Arts Backbone – News Volume 9: Issue 1 June/July 2009

Out and About!ANKAAA AGM December 2008. Thank you to MrTommy May for 21 Years of outstanding leadershipand service for ANKAAA. L-R: Mr Tommy May,Christina Davidson, Djambawa Marawili.Eight ANKAAA Directors graduated from CertificateII Leadership Training, with the AustralianIndigenous Leadership Centre, June 2009.Carol Hapke, Chairperson Waringarri Arts; CathyCummins, Manager Waringarri Arts.Joanne Miller, NT State Manager DEWHApresenting at 2008 Art Workers conference –Building Strong Art Centres.Senior Gapuwiyak fibre artists Anna RamathaMalabirr (left) and Lucy Armstrong (right), withANKAAA’s Resource and Development Officer,Danielle Cullen (centre), GACC opening, June2009.ANKAAA Director Alan Joshua, Sydney College ofthe Arts, June.ANKAAA Director Brian Farmer with JirrawunManagers Quentin Sprague and MichelleNewton, Jirraawun, May.ANKAAA Chairman Djambawa Marawili and MabelJuli (senior Warmun artist), Warmun Arts, May.One year anniversary celebration of sea rightsvictory, Baniyala. L to R. Francis Morphy, HowardMorphy, Djambawa Marawili.Business Planning Workshop, Australia Councilfor the Arts, June. L-R: Mark Stapelton (AustraliaCouncil), Ruth Nalmakara and Alan Joshua (ANKAAADirectors) and Mei Lin Bastian (Australia Council).ANKAAA Directors Alan Joshua and RuthNalmakarra, Art Gallery of NSW, June.Volume 9: Issue 1 June/July 2009 News – Arts Backbone 19

NewsANKAAAExecutive & StaffWarnayaka have an exhibition opening 1August with Framed Gallery in Darwin andanother on 21-24 October in Lajamanu tocorrespond with the Milpirri Cultural Festival.Buku-Larrnggay artists’, Djambawa Marawiliand Nawurapu Wunungmurra, have beeninvited to exhibit in the Moscow Biennalein September by legendary French curatorJean-Hubert Martin. Another two artists,Barrupu Yunupingu and Malaluba Gumanatravelled to Darwin on the 24 April to opentheir show Diamonds and Rainbows at RaftArtspace, Parap.Durrmu Peppimenarti artist Regina PilawukWilson is also invited to exhibit in the 3rdMoscow Biennale from September 24 -October 24. Durrmu Arts has a group showat Raft Artspace, Darwin, opening 23rd May.Regina Pilawuk Wilson was a finalist in theWynne Prize, Art Gallery of NSW, for thesecond year running.Warlayirti artists, in conjunction with AlcastonGallery, featured in a new gallery space atFederation Square, Melbourne in May. TheAtrium at Federation Square exhibited newpaintings by Helicopter Tjungurrayi, ImeldaYukenbarri Gugaman and Miriam Baadjo.The works celebrate the impact of notable(now deceased) Warlayirti artist painter –Wimmitji Tjapanarti – on the painting careersof Helicopter, Imelda and Miriam – who are allrelated to Wimmitji – father in law, grandfather,uncle. It was a stunning exhibition of very fineworks by all three artists.Jilamara exhibitions have included a groupexhibition at Chapman Gallery in Canberrawhich opened May 29 and emerging ArtistsJennifer Murray, Nicholas Mungatopi,Pauletta Kerinauia and Andre Tipungwuti atthe Tiwi Art Network Gallery in Parap in July.Senior Tiwi Design artist Jean BaptisteApuatimi has her first solo exhibition inLondon at Rebecca Hossacks Gallery fromJune 22 to 31 July 2009. Titled Tapalinga,Jean’s exhibition will include works on canvas,paper and bark tunga.Danggang/Galardeng: Red Ochre/WhiteOchre Senior Artists from WaringarriAboriginal Arts opened at MossensonGalleries, Melbourne on 2 June. Artists includeAgnes Armstrong, Carole Hapke, Peter Newryand Billy Duncan and Judy Mengil.Djilpin Arts organised a Gallery at theDreaming Festival in Queensland in June.Sarah Bindinal Ashley ran fibre workshopsat the festival as well as performing Bunggulwith her husband, songman and artist RoyAshley, and a company of eight Djilpindancers for the festival’s traditional program.Injalak Arts is exhibiting work by Solomon‘Salty’ Nangamu – Sculpture from Sea andStone in July-August at Boscia Galleries,Flinders Lane, Melbourne. Works bythis extraordinarily gifted artist, born onGoulbourn Island and raised on Tiwi, areinspired by living in the Stone Country ofGunbalanya (Oenpelli).Showcasing the Newcastle Regional Gallery’ssignificant collection of early Arnhem Landbark paintings as well as recent acquisitions,Stone Country – Salt Water on exhibition from1 August to 27 September will also draw onmajor private collections. Curated by MichelleCorbett, this exhibition will include work byestablished artists such as John Mawurndjul,Narritjin Maymuru, Gulumbu Yunupingu andLofty Bardayal, as well as emerging artistsMelinda Getyin, George Dangi and JoeDjembangu.ANKAAA warmly welcomes new Art CentreManagers who have started in the first halfof 2009: Michelle Newton and QuentinSpague at Jirrawun Arts (previously managersat Jilamara); Dion Teasdale at Elcho Artsand Craft; Maggie Fletcher at Warmun ArtCentre; Barry Hayes and Cher Breeze atJilamara; Kathy Barnes at Millingimbi Arts andCulture; Belinda Carlson at Mardbalk Artsand Helen Dunn and Sara Higgs at Bula Bula.Chris Durkin (formerly of Milingimbi Arts andCulture) has worked for several months withartists from Kalumburu in a project positionsupported through Waringarri Arts, Kununurra.ANKAAA Board of Directors 2009-2010Chairperson: Djambawa MarawiliBuku Larrnay MulkaArnhem Land RegionDeputy Chairperson: Cyril JamesKerinauiaTiwi DesignTiwi RegionTreasurer: Alan JoshuaDarwin/Katherine RegionRuth NalmakarraMilingimbi Art and CultureArnhem Land RegionRichard Birrin BirrinBula Bula ArtsArnhem Land RegionValda DixonWarnayaka Art and Culture AboriginalCorporationDarwin/Katherine RegionRoy AshleyDjilpin Culture C entreDarwin/Katherine RegionFreddie TimmsJirawun ArtsKimberley RegionRosie La LaYaruman Arts & CultureKimberley RegionMaryanne SturtWaringarri Aboriginal ArtsKimberley RegionDonna BurakMunupi Arts and Crafts AssociationTiwi RegionBrian Farmer IllortaminniJilamara Arts and CraftTiwi RegionANKAAA STAFFChief Executive OfficerChristina Davidson – eo@ankaaa.org auResource and Development Managerrdm@ankaaa.org.auResource and Development OfficerDanielle Cullen – ido@ankaaa.org.auAdministration OfficerKatie O’Connell – info@ankaaa.org.auAccountantMichelle CoatsAboriginal and Torres Strait Islander readers are warned that this publicationmay contain names, references and / or images of deceased persons.www.aboriginalart.org