Arts Yarn Up - Summer 2011

Summer 2011 • ISSN 1442 5351 KEEPING CULTURE STRONG

‘Let them rage,’ the women told me, ‘because they have beenwronged’. They whispered wind words in Kaurna and Kokatha.

In Narrunga and Ngarandjeri the women told me ‘Let them rage’. Cloud Storm, Ali Cobby Eckermann

If only I had the ears, memory ... A tongue to speak. I remembered my grandfather’s words, almost as if they had

emerged again in the night, in that bush, around that campfirewhen the three of us felt so frail and bitter.

Benang — From the Heart, Kim Scott

One day a man in a suit arrived at our front door. This was the visit Mum had been fearing for a long time.

He was from the Department of Native Welfare.Aliwa, Dallas Winmar

Angas had put in place his perfectly legal method of solving the rising costs of labour: the enslavement

of Australia’s Aboriginal people. Sweet Water ... Stolen Land, Philip McLaren

I am a daughter of this Land. I have the knowledge of my people.I have the power of my clan, I have the strength

of my marriage, I have the love of my husband, I have the weapon of my wits. I am Medea. So come now and face me.

There is a blood debt to pay and not a drop of mine shall fall upon this thirsty earth.

Black Medea, Wesley Enoch

And now, all it took was a simple flick. A flick, flick here andthere with a dirt-cheap cigarette lighter, and we could have left

the rich white people who owned Gurfurritt mine, destitute anddispossessed of all they owned.

Carpentaria, Alexis Wright

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2 Summer 2011Arts Yarn Up

CULTURAL LEADERSHIPLeadership is an important quality to nurture in ourartists and culture, for it influences the present andfuture direction of our arts and culture.

In this edition of Arts Yarn Up, we feature all aspects ofleadership today, from cultural to creative and artistic.

From across generations, we bring you insights into theway Indigenous artists and arts workers are thinkingabout leadership and putting leadership into actionthrough their creativity and work. Their reflections arediverse and inspiring.

Shaping the 21st century, these cultural leaders revealthe key issues and priorities for the arts. The highlysuccessful ACCELERATE leadership program, inpartnership with the British Council, saw eight peopleselected to participate in an intensive program in theUnited Kingdom.

They were hosted by some 34 individuals andorganisations, including the Barbican Art Gallery, theTate, British Museum, Akram Khan Dance, TamashaTheatre Company, National Theatre Wales, andNational Museums Scotland. We applaud thecommitment of the British Council to providing theseopportunities.

We also bring you a story on Hector Burton, culturalleader and senior artist with Tjala Arts. Hector highlightsthe vital importance of passing on the culture and lawof his ancestors to younger people. He talks about theexhibition that highlights this endeavour.

Dr Mark Bin BakarChair Aboriginal and Torres Strait Islander Arts Board

A WEALTH OF STORIESIn this edition of Arts Yarn Up, we bring you thevibrancy of Indigenous literature.

We talk to writers Kim Scott, Cathy Craigie, Gayle Kennedy, Tara June Winch, Melissa Lucashenko and Jared Thomas about the books that they say are a ‘must-read’!

We asked each of these writers to name the 50‘must-read’ black books. There is a wealth of stories,life experiences and good yarns. Let us know if youhave any other favourites, as we will keep this listgrowing over the years.

We also highlight the current developments with theIndigenous Art Code that came out of the landmark2007 Senate report Indigenous Art – Securing theFuture.

It is vitally important to have ethical standards in thevisual arts industry. We look at what that means topeople in practice.

Also keep an eye out for the 2012 NationalIndigenous Art Triennial at the National Gallery ofAustralia, and the extraordinary next generation ofleaders who have been part of the Wesfarmersfellowships.

And, while we mourn the passing of world renownedceramic artist and sculptor, Tapich Dr Gloria Fletcher AO,and her enduring legacy, we also bring you thepersonal stories of music legends Bunna Lawrie andBart Willoughby as they reflect on their lives together.

Lydia MillerExecutive DirectorAboriginal and Torres Strait Islander Arts

Editorial

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

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

Created by artists from the Girringun Aboriginal ArtCentre, the life-sized fire sticks are a contemporarytake on traditional fire making implements used by

the Girringun rainforest people of Far North Queensland.Traditionally around 45 cm long and consisting of two

parts, bagu (body) and jiman (sticks), the fire sticks are saidto have their origins in the sky, where a mystical fire spiritwould throw the jiman across the sky to create a trail of fire.

The idea of reinterpreting them for a new generationbegan soon after the Girringun Aboriginal Art Centre openedits doors in 2008. Looking for something special to createfor the first Cairns Indigenous Art Fair (CIAF) in 2009, staffand artists met to discuss how they might translatetraditional tools into contemporary forms.

They used the bagu to evoke the spirit of theirancestors, creating one-of-a-kind bagu made out of clay,timber and string. These were so popular they sold out waybefore the CIAF opened, entering into the collections ofmajor institutions and private collectors.

In 2010, the centre was invited to submit an entry toStrand Ephemera, a festival of contemporary arts that runsalong the length of The Strand on Townsville’s idyllicbeachfront.

Again the team sat down to discuss ideas, deciding thesite lent itself to creating 15 life-size bagu, each with its ownstory.

While the production schedule was severely impactedby Cyclone Yasi and the group faced many challengesconstructing the works, the artists eventually created 15bagu; two out of traditional materials, nine out of ceramicsand four over aluminium frames.

‘One of the main challenges with the ceramic works wasfitting them into our kiln, which could only fit one third of thefull-size bagu,’ says Girringun Aboriginal Art Centremanager, Valerie Keenan.

Together with ceramics tutor, Meredith Moreau, theartists constructed the bagu in three sections.

With a number of weavers in the group, the artists werealso keen to incorporate weaving elements into their worksand developed the idea of working with aluminium frames.

‘We were able to salvage some milky pine logs afterCyclone Yasi from the local transfer station, which meantthat we were also able to incorporate two carved pieces,’adds Valerie.

With the Pacific Ocean and Magnetic Island as abackdrop, the final bagu rose dramatically out of the sand ina quietly proud formation. Swaying gently in the onshorewinds, they seemed to breathe the stories they carried.

‘Many people wandered among the figures for a closerinspection, pausing for photographs by their favouritepiece,’ says Valerie. ‘Children scampered around them whileothers sat quietly on the grass in quiet contemplation.’

For their efforts, the Girringun Aboriginal Art Centreshared the $10,000 Strand Ephemera Artistic ExcellenceAward with artist Erica Gray.

‘There were 36 entries, so it was a great achievement tobe selected for this award, particularly as Cyclone Yasiaffected our schedule. The huge effort and spirit the artistscontributed was amazing,’ says Valerie.

The Girringun Aboriginal Art Centre artists were: GloriaAndy, Leonard Andy, Nina Andy, Charlotte Beeron, DanielBeeron, George Beeron, Maureen Beeron, Theresa Beeron,Trish Beeron, Nephi Denham, Tonya Grant, Judith Henry,Clarence Kinjun, Alison Murray, Debra Murray, Emily Murray,Ethel Murray, John Murray, Sally Murray, Grace Reid andEileen Tep.

Above: Bagu on The Strand, Townsville. Photo: Girringun Aboriginal Art Centre.

Giant fire sticksspark beach festivalAn exhibition of giant fire sticks was one of the highlights of this year’s Strand Ephemera exhibition in Townsville, Far North Queensland.

When the landmark Senate report Indigenous Art –Securing the Future was released in 2007, it sentshockwaves through the art world and general

community. It detailed how unscrupulous dealers, eager tocapitalise on the worldwide boom in Indigenous art, wereexploiting artists. It also found so-called ‘carpetbaggers’were marketing many fake or poor quality artworks.

It seemed that the multi-million dollar industry had adark side which not only threatened the wellbeing ofIndigenous artists, but put the reputation of the industryat risk.

In response, the Senate recommended sweepingchanges to the industry, including a voluntary Code ofConduct that would set industry standards, provide abenchmark for ethical behaviour and give buyers greatercertainty about the origin of artworks being sold.

To develop the Code, the Australia Council for the Artsconsulted with the visual arts sector in 2009, convening anindustry reference group of commercial galleries, publicinstitutions, Indigenous and non-Indigenous visual arts peakbodies, curators and Indigenous artists.

A private company, the Indigenous Art Code Limited(IartC), was established to implement and supervise theCode and drive membership.

Today IartC has its own CEO, John Oster, a board ofdirectors and elected members including Indigenous artists,not-for-profit artist organisations and individuals withbusiness and legal experience.

So far, around 140 dealers, artists and supporters havesigned up to the Code, committing them to: • fair, honest and professional dealings with Indigenous

artists• respect for Indigenous artists’ cultural practices and rights• transparency in the promotion and sale of Indigenous

artwork.While dealers and Code supporters pay a $300

membership fee to help cover administration, there is nomembership fee for artists.

‘We encourage anyone who is passionate aboutIndigenous art and believes in promoting ethical standardsin the industry to become a member,’ John Oster explains.

‘We particularly welcome artists as they are essential tothe Code’s development and future management.’

Members are invited to attend the annual generalmeetings and vote on major Code issues. Dealers arepermitted to use the Code’s logo and art buyers areencouraged to look for the Code logo when purchasingIndigenous art. Dealers will also provide a Code certificate,which verifies the authenticity and the source of the artwork.

While the Code is voluntary, a robust legal frameworkhas been put in place to enforce ethical standards andprovide signatories with a fair, efficient and effectivecomplaints procedure.

‘IartC is able to investigate serious complaints through a panel of independent legal experts. We also have a closeworking relationship with the Australian Competition andConsumer Commission (ACCC) which has the power toinvestigate breaches of the law,’ John explains.

Interest in the Code is certainly growing—there was‘standing room only’ at the recent Annual General Meeting.But there is still a lot of work to be done in securingwidespread industry support and public recognition, alongwith further funds to appoint three to five operating staff.

John has been encouraged by the industry’s support,with a number of national media companies providing probono support for a national advertising campaign. Manyother arts agencies have also signed up.

Australia Council CEO, Kathy Keele, said: ‘We stronglysupport the Indigenous Art Code in upholding fair andethical standards in the visual arts industry. The Codepromotes good commercial practice so that Indigenousartists and their artistic and creative works are affordedprotection, rights and fair remuneration’.Left: John Oster with Central Australian artist, Jane Young, asshe signs up as an artist member of the Code.


Fair go for Indigenous artistsYou can play a part in ensuring the Indigenous arts sector looks afterartists by signing up to the Indigenous Art Code, which is free for artists.

www.indigenousartcode.org • 08 8959 6038

‘We encourage anyonewho is passionate about Indigenous artand believes inpromoting ethicalstandards in the industryto become a member.’

Ambitious and provocative, 2Law Way is one of thefew performance works in Australia to take placeinside a state supreme court.

Presenting theatrical interpretations of local legalcases, the piece brought judges and lawyers togetherwith local Indigenous artists and performers in May 2011.It also added some Top End perspectives on therelationship between Aboriginal and Western approachesto common law.

Based on interviews with over 100 local Indigenouscommunity members and combining corroboree, film, mocktrials and debate, 2Law Way took place inside the SupremeCourt of the Northern Territory, to mark the Court’scentenary.

Project co-director, Ali Mills, said: ‘The Supreme Courtshould be applauded for supporting this presentation aboutthe two laws – Aboriginal and Western. It was a massiveproject and very daring of them to take it on’.

A well-known singer and performer from the Larrakianation of the Northern Territory, Ali is also an outspokenadvocate for a national debate between Indigenous and non-Indigenous people on language, cultural and spiritual issues.

‘When I was asked to create an Aboriginal theatricalexpression featuring strong tribal opinion on Western andAboriginal law I figured well, they asked me to do it, so theyknow it’s going to be honest!’ she said.

‘I knew it couldn’t be just another attempt to deal withAboriginal issues without appropriate Aboriginal expertise.’

To develop the work, Ali came up with TalkaboutWalkabout, an extensive consultation process sheundertook in collaboration with co-director, Damien Pree.

‘We walked the streets of Darwin, sat on the ground, laidon the grass, jumped, responded, flagged people down intheir cars and made countless phone calls in Darwin andremote areas just to collect opinions,’ she explains.

‘The statements that we got were very truthful. Peoplewere saying things such as, “the current system trulydiscriminates against Indigenous people”. We have whitelawyers saying “Aboriginal law is barbaric” and Aboriginalpeople saying, “White law is barbaric: jail attacks the spiritand damages a person for life”.’

These opinions helped shape the performance at theSupreme Court in Darwin. A short film tackled the firstlanding, massacres of Aboriginal people, breeding-outprograms and the Stolen Generation.

Four simulated modern-day court cases were basedon real situations where Aboriginal and Australian lawcollide.

At various points, the actors froze while Aboriginalpeople in traditional dress walked in to give their version ofevents according to Aboriginal law. At other times, the stageturned into a boxing ring with actors throwing punchesalong with their punch lines.

‘It was amazingly powerful; an intensely hard-hittingperformance,’ says Ali. ‘We were all nervous—we knewwhat a can of worms we were opening. Damien and I jokedwe had to put on our crash helmets!

‘This is not a perfect presentation in terms of traditionaltheatre, but an expression of an issue that needs to bediscussed. Black and white people in this country need toseriously talk, walk and move forward together if we want tobuild a better Australia,’ claims Ali.

The Chief Justice of the Supreme Court of the NorthernTerritory, Trevor Riley, said of the performance: ‘I wasparticularly impressed with the sentiment that we must allrespect each other and work together to makeimprovements in the future’.

Corrugated Iron hopes 2Law Way will tour nationallyand is now turning stories from Talkabout Walkaboutand 2Law Way into a DVD for use in schools and cross-cultural training.

Left: A scene from Corrugated Iron’s 2011 production 2Law Way.Photo: Peta Khan.


Top End takes on the lawA new performance work by Darwin’s Corrugated Iron Youth Arts is stimulating debate about the way Aboriginal and Western justice systems deal with offenders.

www.corrugatediron.org.au • 08 8948 3200

Kim Scott is proud to be oneamong those who call themselvesNoongar. He has won the prestigiousMiles Franklin Literary Award twiceand his novels are listed as a must-read by most of the authors below.

Kim’s must-read booksLiving Black by Kevin Gilbert‘This was a formative influence on me,along with his book, Because aWhite Man’ll Never Do It. In fact theyserve as one book in my mind chieflybecause of their sincerity, braveryand the way they broke new ground.’

The Man from the Sunrise Sideby Ambrose Mungala Chalarimeri‘I particularly value this book for ascene where the young narratorsees an Elder returning to his homecommunity with “money and a gun”and resolves to get those things forhimself.’

Bitin’ Back by Vivienne Cleven ‘The wit and energy, both serving todemolish stereotypes, make this avery attractive book.’

No Options No Choice!by Rosemary van den Berg‘An early West Australian work thathelped to create space for otherworks to be published.’

No Free Kicksby Eric Hedley Hayward‘A proud and dignified book,emphasising the contribution Noongarpeople have made, and can potentiallymake, to “mainstream” society.’

Plains of Promise by Alexis Wright‘Not as big a book as others she’swritten, but nevertheless big andbrave with its themes.’

Steam Pigs by Melissa Lucashenko‘Complex and conversation –provoking about gender, sexuality,class and race.’

Shadow Lines by Stephen Kinnane‘Compassionate and inclusivethroughout—and a book that deftlydoes not make its extensiveresearch obvious.’

Story About Feeling by Bill Neidjie‘Good to see complex, oral rhythmson the page.’

Gularabulu by Paddy Roe‘Rhythms of speech and complexperceptions come alive in this bookand open up space into whichothers might move.’

Kim’s top 50 must-read writers• Jack Davis • Ambrose Mungala Chalarimeri • Vivienne Cleven • Rosemary van den Berg • Noel Pearson • Melissa Lucashenko • Stephen Kinnane • Bill Neidjie • Paddy Roe • Jimmy Chi • Anita Heiss • Alexis Wright • Glenyse Ward • Sally Morgan • Eric Hayward • Bruce Pascoe • Lionel Fogarty • Tara June Winch • Kenny Laughton • Philip McLaren • Kevin Gilbert • Dot Collard • Romaine Moreton • Lisa Bellear • Richard Wilkes • Sam Watson • Eric Wilmot • Jackie Huggins • Richard Walley • Richard Frankland • Cathy Craigie • Bessie Flower • Alf Taylor • Oodgeroo Noonuccal • Larissa Behrendt • Dr Ruby Langford Ginibi • Ali Cobby Eckermann • Doris Pilkington • Samuel Wagan Watson • Stan Grant • John Newfong • Darren Garvey • Herb Wharton • Marcia Langton • Martin Nakata • Mick Dodson • Rosalie Fraser

Cathy Craigie, a Gamilaroi andAnaiwon woman from northern NSW,has a long career working in the arts.She is director of the NationalAboriginal Writers’ Festival andregularly mentors writers anddevelops and promotes Aboriginalliterature. Her play for Kite Theatre,Murri Time (co) was nominated for anAustralian Writers’ Guild award. Shealso writes short stories and radioplays and is working on her first novel.

Cathy’s must-read booksMy People. A Kath Walker collectionby Oodgeroo Noonuccal (Kath Walker)

‘I was very moved by the power andinsights into Aboriginal society,portrayed in her poems. At the time Iread this, I was a young woman andher Charter of Aboriginal Rights wasso inspiring.’

Carpentaria by Alexis Wright‘A powerful set of stories and characters.I couldn’t keep them out of my head,even after I finished the book.’

Macquarie PEN Anthology ofAboriginal Literature, editedby Dr Anita Heiss and Peter Minter

‘This is such an important book foranyone wanting to know more aboutAboriginal literature and history.Some of the writings are incredibleand inspiring.’


Great journeys through Indigenous literatureA collection of Indigenous books and authors, selected by Indigenous writers.

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

Cathy CraigieKim Scott

Bitin’ Back by Vivienne Cleven‘One of the funniest books I haveread by an Aboriginal author. Ithilariously captures the ruralAboriginal sense of humour and Ilove the ending.’

The Callused Stick of Wanting and Post Me to the Prime Minister byRomaine Moreton‘Romaine is one of Australia’s topcultural talents. Her writing isexquisite and thought provoking. I couldn’t choose between these two books.’

Yoogum Yoogum by Lionel Fogarty‘This is one of the first bookspublished by an important storytellerand changed the way I thoughtabout Aboriginal writing. His writingresists the formal structures ofEuropean poetry and continues thelong tradition of Aboriginal protestpoetry. When you hear his words outloud, you hear his passion for ourcountry and cultures.’

Little Bit Long Time by Ali Cobby Eckermann‘I cried the first time I read this. Anemotional journey with the writer andso well crafted.’

Benang – From the Heartby Kim Scott ‘Inspirational and well written. This isa brave story and metaphoricallybrilliant.’

My Ngarrindjeri Calling by Doreen Kartinyeri and Sue Anderson‘Although a biographical story, it isone of the most interesting I haveread. Doreen’s strength andcommitment are inspirational in thisstory of what really happened in theHindmarsh affair. She was anamazing role model for women inSouth Australia.’

Bloke by Bruce Pascoe‘This is a story of a typical Aussiemale who comes to find out who hereally is. There are not many storiesout there about our men and whatmakes them tick. This very funnystory captures some interestingcharacteristics about Aboriginal andmainstream Australian societies.’


Continued next page

Gayle Kennedy is a member ofthe Wongaibon clan of south westNew South Wales. Her volume ofpoetry, Koori Girl Goes Shoppin,was shortlisted for the DavidUnaipon Award for IndigenousWriting (2005), with her novel Me,Antman & Fleabag, winning theaward in 2006. In 2011, five ofGayle’s children’s novels werepublished by Oxford UniversityPress as part of the Yarning StrongSeries, with a screenplay for TRAXand Outback Theatre for YoungPeople filmed and due for releasesoon.

Gayle’s must-read booksCarpentaria by Alexis Wright

Benang – From the Heartby Kim Scott

That Deadman Dance by Kim Scott(2011 Miles Franklin Literary Award)

Don’t Take Your Love to Townby Dr Ruby Langford Ginibi

Hey Mum, What's A Half-Caste?by Lorraine McGee-Sippel

End of Dreamtime by Kevin Gilbert

Sweet Guy by Jared Thomas

Australia’s unwritten history: morelegends of our land by Oodgeroo Noonuccal (Kath Walker)

Unbranded by Herb Wharton

Follow the Rabbit-Proof Fenceby Doris Pilkington

Gayle’s must-read writers • Edward Warrigal Anderson • Faith Bandler • Larissa Behrendt • Lisa Bellear • Roger Bennett • Mary Carmel Charles • Jimmy Chi • Ali Cobby Eckermann • Jack Davis

• Wesley Enoch • Lionel Fogarty • Richard Frankland • Kevin Gilbert • Jane Harrison • Ruth Hegarty • Anita Heiss • Dr Ruby Langford Ginibi • Sally Morgan • Oodgeroo Noonuccal• Doris Pilkington • Kim Scott • Margaret Tucker • Glenyse Ward • Samuel Wagan Watson • Sam Watson • Herb Wharton • Tara June Winch • Alexis Wright • Bill Neidjie • Stan Grant • John Newfong • Jared Thomas

Tara June Winch is an IndigenousAustralian author and literacycampaigner. She was awarded theinternational Rolex Mentor andProtégé Arts Award in 2008-2009,which saw her work with NobelLaureate Wole Soyinka.

Tara’s must-read books‘These are the books that are mostmemorable to me: some memoir,some poetry, some contemporarynovels. All these works speak abouta unique and deep connection tohistory, spirituality, political struggleand also explore the universalhuman conditions of love, family andbelonging. I am never without mostof these titles in my suitcase; theykeep me connected to a sort offamily of words, wherever I am,these stories are there.’

That Deadman Dance by Kim Scott Carpentaria by Alexis WrightNot Meeting Mr Rightby Dr Anita Heiss Whispers of this Wik Woman by Fiona Doyle

Gayle Kennedy

Tara June Winch

Black Swan: A Koorie Woman’s Lifeby Eileen Harrison and Carolyn LandonSmoke Encrypted Whispersby Sam Wagan WatsonHome by Larissa BehrendtMy People by Oodgeroo Noonuccal

Melissa Lucashenko is an award-winning novelist and essayist wholives between Brisbane and theBundjalung nation. Her novelsinclude Steam Pigs, Hard Yardsand Killing Darcy. Melissa writesregularly for the Griffith Review andher essay The Angry Country wasselected in The Best AustralianEssays 2010. She is working on herfifth novel. Melissa is a member ofthe Aboriginal and Torres StraitIslander Arts Board, AustraliaCouncil for the Arts.

Melissa’s must-read booksThat Deadman Dance by Kim Scott

‘Like all great writing, this novel ofWest Australia’s “friendly frontier” isdeceptively simple. But by its endwe are gripped by the transformedworld of the French-speaking,whale-hunting Noongars of thecolonial Albany coast.’

Earth by Bruce Pascoe‘An astonishingly innovative novel ofrural Victorian life; not only is Earth agreat read, but since opening it Ihave never been able to think of asheep as anything other than a

“sheepie”, as the early Wautharongchristened them.’Grog War by Alexis Wright‘Anyone who wants to understandthe role of alcohol in NorthernTerritory towns should first read thisgut-wrenching book about the longAboriginal struggle to ban grog inTennant Creek.’Her Sister’s Eye by Vivienne Cleven

‘Cleven’s remarkable writing of ruralQueensland recalls Harper Lee andToni Morrison. She is an outstandingand wonderfully funny novelist.’Little Bit Long Timeby Ali Cobby Eckermann

‘A strong collection from one of ourmost talented new poets—don’tmiss her very moving poem ofassimilation, Circles and Squares.’Manhattan Dreamingby Dr Anita Heiss

‘Koori sister takes New York by storm! Nuff said.’Don’t Take Your Love to Townby Dr Ruby Langford Ginibi

‘The late Aunty Ruby left, as one ofher legacies, this classic yarn ofcountry Koori life in the mid-20thcentury.’Sweet Guy by Jared Thomas‘Nunga boy leaves home, makesgood. A great Adelaide book forboys and men.’The Callused Stick of Wantingby Romaine Moreton

‘A sharp Goorie eye focused on themultiple strands of modernAustralian racism. Powerful andincisive.’Swallow the Air by Tara June Winch

‘Winch has the lyrical command oflanguage you would expect from amuch older writer and a bittersweettake on what it is to be young, poorand Koori.’


Dr Jared Thomas is a Nukunu manof the southern Flinders Ranges inSouth Australia and acommunications lecturer at theUniversity of South Australia. Hispassion is facilitating creativewriting and literacy developmentworkshops in prisons, communitiesand schools. Jared’s novel Sweet Guy was shortlisted for the2009 South Australian People’sChoice Awards for Literature andThe Deadly Awards. His children’snovel Dallas Davis, Scientist andThe City Kids was released by Oxford University Press inMarch 2011.

Jared’s must-read books(including theatre by Indigenouswriters)

Funerals and Circusesby Roger Bennett (theatre)No Sugar by Jack Davis (theatre)We Are Goingby Oodgeroo NoonuccalDon’t Take Your Love to Townby Dr Ruby Langford GinibiFollow the Rabbit-Proof Fenceby Doris PilkingtonPost Me to the Prime Minister by Romaine MoretonI’m Not Racist But…by Dr Anita HeissMe, Antman & Fleabagby Gayle KennedyBenang – from the Heartby Kim Scott Carpentaria by Alexis Wright

Melissa Lucashenko

Great journeys through Indigenous literature

Dr Jared Thomas

Melissa Lucashenko

Inspired by our Elders and many Indigenousartists and arts leaders, Arts Yarn Up set out tounderstand what motivates and inspires artsleaders, what they hope to achieve forthemselves and their people, and what skillsand knowledge they hope to pass on to thenext generation.

On the following pages are stories written underthree broad themes: cultural leadership, creativeleadership and artistic leadership.

Cultural leadership highlights the connectionbetween art and its role in the community. It’s aboutexploring how art is connected to language,heritage, culture, land, sea and customary law andhow the leaders who are responsible for theseaspects determine the integrity of the art.

Creative leadership is about acknowledging the roleof art in society and the people who work across thebreadth and depth of the arts landscape.

By artistic leadership, we mean to celebrate the skillsand achievements of leading practitioners in theirrespective disciplines—community, dance, digital,literature, music, theatre, visual arts, and more.

We hope their stories inspire and empower you totake the next step in your artistic career.

Above: From left: Marilyn Miller, Kirsten Freeman(Assistant Director, British Council), Sharon Paten, Peter White (2009 ACCELERATE awardee), Jason Tamiru,Kevin O’Brien, Mark Wright (workshop facilitator from UKorganisation People Create), Alick Tipoti, Kyle Morrison,Frances Rings, Barbara Matters, Nick Marchand (Director, British Council). Photo: © British Council 2011.


Leading by example

LEADERSHIP IN THE ARTS

ALICK TIPOTIARTISTDescribe your journey in the arts.

Everything starts from myisland, Badu Island in theTorres Strait, and myupbringing—listening tothe stories the Elders andmy Uncles and Auntiestold in our language. Afterschool when I started

studying art at the local TAFE, and then further here inAustralia, I realised that this was something that I wanted todo all the time. When I turned professional, it was moreabout preserving cultural information. I love it. It’s mypassion to do art. I speak the language, Kala Lagaw Ya, fluently. And all threedialects of the Western Island language: Mabuyag, KalawKawaw Ya, and Kulgalw Ya.Besides my art practice, I do a lot of genealogies and somepersonal linguistic studies. This is so I know if I have the right to tell certain stories, if Iam the direct descendant and so on. It’s also so I canunderstand the structure of any language, and spell andcapture the right pronunciation of my language in theEnglish alphabet. I’m not satisfied with my achievements—I’m still hungry for more. I just have to juggle family time atthe moment, especially having three kids aged eight, fiveand two. I have a lot of great ideas that I think are going tobe well received in the art world.Who has influenced you?

The people that influence me the most are my people backhome, continuing our everyday life and culture there, anddancing and singing the language especially. In the art world, it’s the young emerging artists whoinfluence me. They want to learn more so when they turn tome, I turn to uncharted waters.What would a successful future look like for the next generation of Indigenous artists?�

When artists eventually get recognised in the art world, theyalways say they want to keep their culture alive through art,especially the Torres Strait Islander artists.

I believe that the language is the core of the culture. Youngartists need to learn all of that cultural information beforethey set out to be leaders in the art world. I can definitelytell you they are rowing against a very strong current—thereare a lot of other influences from other cultures.I think networking in the art world is the key. Once you havethat, then you can exhibit or perform here and there andthe recognition will eventually come.How does art contribute to community resilience and wellbeing?

Art plays a very big part in the community. We now have anart centre on Badu Island with about 10 full-time practisingartists creating really good work. That is a good thing and itgives something good back to the community and theElders support it 100 percent.

JASON TAMIRU PRODUCER ANDCOMEDIANDescribe your journey inthe arts

Art is culture and beingAboriginal I was born intothe arts. Like a fish, webegin in the river,swimming aroundlearning who we are andpicking up bits and

pieces here and there on our way to the big blue sea. Thebig blue sea is huge with so much opportunity—good andbad. I am in the big blue sea swimming around with sharksand dolphins. I feed on deadly food that is good for myspirit and spit out the gunk that is toxic to my soul.Who has influenced you?

My greatest influence is my grandparents, Sir Douglas andLady Gladys Nicholls. They both worked tirelessly for thebetterment of our people, challenging ignorance andprejudice while supporting identity and fighting for ourhuman rights.What would a successful future look like for the next generation of Indigenous artists?

That we are seen as assets instead of victims and given theproper respect without exploitation of our vulnerability. Weare the best artists in Australia and as soon as everyoneaccepts it the better the world will be.


SPECIAL FEATURE

www.raftartspace.com.au

Future leaders fast forwardThe British Council and Australia Council are supporting Indigenous artsleaders with a new program that will help them shape an even brighter futurefor themselves, their communities—and the arts sector as a whole.

In August 2011, eight of Australia’s most inspiring Indigenous arts leaders spent an intensive three days at artist Arthur Boyd’s historicproperty, Bundanon, in southern New South Wales talking about the characteristics that define leadership and how they might shapetheir own futures as leaders. Led by professional development coaches, the workshop is part of the British Council’s new

ACCELERATE cultural leadership initiative, providing talented Indigenous Australians with working opportunities to further their careers.Run in collaboration with the Australia Council’s Aboriginal and Torres Strait Islander Arts Board, the program equips these future leaderswith skills and networks, and they will travel to the United Kingdom for further professional development opportunities. Arts Yarn Upspoke to the ACCELERATE leaders about their vision for Indigenous arts and how they contribute to Australia’s identity and wellbeing.



How does art contribute to community resilience and wellbeing?

Art should stimulate the subconscious and stir up theemotions. Art has been the pathway for others to engagewith black culture. Art has provided a foundation for us tobuild on. Art shapes who we are as black people and willprovide the protection and strength for us to continue asproud hunters and gatherers and masters of the universe.

KYLE MORRISONARTISTICDIRECTORDescribe your journey in the arts.

I performed in my firstprofessional theatreproduction when I was11 years old — Waiting for Godot bySamuel Beckettproduced by Black SwanTheatre company in1993. I have since been

an actor for a number of theatre companies in Perth, and Ihave also been at different times, actor, stage manager anddirector for Yirra Yaakin Theatre.Who has influenced you?

Growing up in Perth, my main influences have been theIndigenous theatre makers in Western Australia. DavidMilroy has been the main influence in my journey tobecoming an artistic director. He was the artistic director ofYirra Yaakin when I was growing up, and most of myfavorite plays from the 1990s were produced by YirraYaakin and directed by David. The two other majorinfluences for me as a young Noongar artist were KeltonPell and Derek Nannup. As a young artist I had the pleasureof seeing these guys perform. With Derek and Kelton onstage, directed by David Milroy, I was inspired by theseprofessional artists and the stories they told.What would a successful future look like for the next generation of Indigenous artists?

Two words that sum up the future of Indigenous arts forme: ownership and sustainability. I would love for futureIndigenous directors to work with a creative team that iscompletely Indigenous, with lights, sound, costume, set andmusic design all in the hands of Indigenous artists. It wouldmean total ownership of our stories and the way we tellthem. This will allow Indigenous artists and designers totrain our own emerging talent in our way of doing things,evolving our artforms.

How does art contribute to community resilience and wellbeing?�

Universally human themes are for everybody. By exploringour artforms we are exploring what makes us all human. Bygiving the truth of ourselves, we are letting someone elseget to know us on some level. In saying that, I believe thatart has a way of giving some understanding or insight tohow another group of people live and think. By showing ourstories to the general public we are giving those whowouldn’t usually have any contact with the Indigenouscommunity the chance to feel what we are feeling and toget some understanding of how our community works.

FRANCES RINGSDANCER,CHOREOGRAPHERAND PRESENTERDescribe your journey in the arts.

My journey in the arts hascreated a pathway for meto connect with myculture and understandthe importance and valueof bringing our stories tothe mainstream.

Who has influenced you?

My mentor Stephen Page has encouraged and supportedme for many years. Actress Ningali Lawford-Wolf andcultural Elder Kathy Marika have shared their knowledgeand wisdom of their traditions with me and inspired myworks. My sisters Deidre and Gina guide me and teach methe importance of family.What would a successful future look like for the next generation of Indigenous artists?

We now have creative leaders who reflect the diversity andtalents of our Indigenous people. A successful future wouldbe one where art is promoted and harnessed from an earlyage and supported with a cultural institution in each state tonurture, train and inspire excellence in the arts.How does art contribute to community resilience and wellbeing?

One of my main incentives for creating work has been toopen a gateway of understanding between Indigenous andnon-Indigenous people. Within my community, I hope thatmy work inspires others to think about the importance ofculture and to rekindle their connection to it.

‘We now have creative leaders whoreflect the diversity and talents of ourIndigenous people.’ — Frances Rings

BARBARAMATTERSCURATORDescribe your journey in the arts.

My journey in the arts hasbeen a lifetime of fun andlearning. I began drawingwhen I was very youngand spent the majority ofmy school years wantingto be a professional artist.

I attended many different TAFE courses over the years tohone my skills and develop my painting technique. As mychildren grew, I began applying for participation in public artprojects and then taught art to non-Indigenous seniors andIndigenous women. I introduced high school students tothe diversity of Indigenous culture and heritage through thearts via Fairbridge Village. I have helped to createawareness of Aboriginal art in my children’s classes whenthe need arose.In early 2000, I began an arts practice with my eldestdaughter titled Karda Designs. We handpaint genericNoongar designs on silk as well as painting on canvas,paper and in watercolours and oils. During this time I began an art class with Murray Arts & Crafts Society inPinjarra, Western Australia, where we painted outdoors asmuch as possible. I started Liveringa Art Gallery with theorganisation’s help and participated in community arts asoften as possible. My classes included in-depth discussionsrevolving around contemporary issues facing AboriginalAustralians.I graduated from university in 2008 with a double major inwriting and social science and now work for the BerndtMuseum of Anthropology in Perth. My focus has changedfrom art to an academic career. However, I continue toassist in creating awareness of the issues facingcontemporary Aboriginal Australians. In my role at theBerndt Museum I research, write and deliver lectures onAboriginal art and culture and discuss current issues,creating awareness of the diversity and complexity ofIndigenous Australia.Who has influenced you?

My earliest influential memory was in black activism duringthe 1968 Olympics when Tommie Smith and John Carlosmade the ‘fist of freedom’ salute after running first and thirdin the 200-metre finals.

In 1993, I was hugely inspired by Nicky Winmar’s responseto racial vilification when he raised his jumper and pointedat his skin during the St Kilda and Collingwood match inApril.My most recent influences are the writings of ProfessorMick Dodson; Patrick Dodson, Chair, KimberleyDevelopment Commission; Marcia Langton, Professor ofAustralian Indigenous Studies at the University ofMelbourne; lawyer and activist Noel Pearson; and historianAnna Haebich, whose writings have inspired me to continuemy educational pursuits. What would a successful future look like for the next generation of Indigenous artists?

This is an interesting question and is something that I havebeen discussing with professional Noongar artists,Kimberley artists and anyone who wants to have theconversation. The latest academic discussion is: ‘Is Aboriginal art dyingwith the desert masters?’ It appears that the commercial artmarket has concerns as to the authenticity of contemporaryIndigenous artists and is having issues identifying what is‘real’ aboriginal art. To my mind, all Indigenous art is real because we are anevolving ‘living’ culture that is diverse and complex.Indigenous art today is a representation of lived experiencewhile maintaining connections to country. Indigenous Australian art today is influenced by access totechnology, the performing arts, tourism andcommercialisation. I am not sure where the future isheading for Aboriginal artists. However, I am positive if wekeep encouraging the exploration of identity through thearts, our culture and heritage will remain intact.It does not matter what style or format the artworks takeinto the future. What matters is the continuity of culture andheritage expressed through the legacy of our ancient ‘living’language of the arts, therefore sustaining our identity.How does art contribute to community resilience and wellbeing?

Art maintains community resilience and wellbeing because itcreates ongoing cultural practices, passes on knowledge ofculture and heritage and provides a sense of value and self-worth for Aboriginal peoples. Art in all its formats is an expression and representation ofIndigenous societies through exhibition. Communitiesidentify with their cultural heritage supporting their identity,which in turn provides a sense of wellbeing. There is pridein culture and heritage.


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Future leaders fast forward



MARILYN MILLERDANCER ANDCHOREOGRAPHERDescribe your journey in the arts.

To dance is to breathe; tobe free. I have beeninvolved in the arts, boththeatre and dance, froma very early age. In fact Ithink I was born into it. Iwas the child amongfriends who would devisethe plays, assign the

roles to others and then direct them as to how it would beperformed, including danced. We would invite the ‘grown-ups’ and ‘voila’ a show was born.Since then I’ve trained formally in dance, co-foundedAustralia’s first Indigenous dance company, the AboriginalIslander Dance Theatre, and worked in several areas of theperforming arts from performer to choreographer, director,artistic director, manager, CEO, board member andchairperson.I was the national Indigenous dance coordinator forTreading the Pathways—a partnership between Ausdanceand the Australia Council—leading to the development ofone of Australia’s newest arts organisations, BlakDanceAustralia in 2010.The next phase of my work in the performing arts hasbegun, with the ACCELERATE program ensuring a goodstart.Who has influenced you?

My very first influences were dancers Margot Fonteyn andRudolph Nureyev — sheer perfection. But since then everyelite athlete has influenced me as the training regime is verysimilar and I’ve always approached my craft withdedication, discipline and passion.Other non-arts related influences span areas such as socialjustice, whereby Nelson Mandela and his life journey hasbeen a constant reminder of what can be achieved throughidealism, persistence and support.Closer to home, both my parents have been hugeinfluences on me, having demonstrated the values ofintegrity and honesty while pursuing one’s dreams andsimultaneously promoting and progressing opportunities forother Indigenous people.What would a successful future look like for the next generation of Indigenous artists?

A large pool of highly technically trained dancers,employment opportunities in high-calibre Indigenous dancecompanies in every state, international touring andplacements with other high-calibre dance companies,nationally and internationally.

Indigenous dance studies would also be embedded withinthe national curriculum, with dance graduates teaching inschools and educating younger generations.How does art contribute to community resilience and wellbeing?

Art is the expression of the people; the voice of thecommunity; an avenue of change; a reflection of history anda way to comment on issues thus empowering individualsand the collective to comment without reprisal.Without a voice, the collective will forever lay dormant andfeel neglected and overlooked. With a voice, the collectivewill be stronger and have the confidence to address issuesimpacting their wellbeing.

SHARON PATENCEO OF THEKOORIE HERITAGETRUSTDescribe your journey in the arts.

After 17 years in socialhousing, it was time totest if my skills weretransferrable. The KoorieHeritage Trust was

looking for a new CEO and I was looking for my nextjourney. Not being an artist myself, I was overwhelmed bythe task ahead of me, but confident in my strongoperational and governance background.Together we are taking the Koorie Heritage Trust into thenext 25 years as a world class arts and cultural centre and tourist destination that supports reconciliation,increases understanding and promotes Aboriginal culture to all people. Who has influenced you?

Uncle Jim Berg, cofounder of the Koori Heritage Trust, forhis foresight to preserve, protect and promote theAboriginal culture of southeastern Australia and bridge thecultural gap between Koories and the wider community.The commitment and passion of the board and staff of theKoorie Heritage Trust instills in me a sense of determinationand drive to achieve excellence in arts, culture and tourismopportunities.How does art contribute to community resilience and wellbeing?

It is well recognised that one of the key factors that canassist communities overcome the high level of disadvantageis to build a strong sense of identity. The loss of identity is often most profound in areas likeVictoria, not because young people don’t know that theyare Aboriginal, but primarily because they have not beengiven the opportunity to learn about their culture and, assuch, develop a strong sense of identity.

‘With a voice, the collective will bestronger and have the confidence to address issues impacting theirwellbeing.’ — Marilyn Miller

Early intervention by educating Koorie youth about therichness and diversity of their culture is expected to have awide impact on how future generations perceive andembrace their culture.It is envisaged that by enhancing identity and the sense ofself, young people will be able to achieve higher outcomesin other parts of their lives.What would a successful future look like for the next generation of Indigenous artists?

A generation of Indigenous artists who use art to expresstheir strong connections to culture in a show of pride andreclamation and a strong conviction to educating Australiaand the world that Victorian Aboriginal culture is rich,diverse and contemporary.

KEVIN O’BRIENARCHITECTDescribe your journey in the arts.

Architecture began as ateenage reaction to thedismal buildings andinfrastructure of themission on Kiriri,Hammond Island, in theTorres Strait—the home

of my extended family. I could not understand how acountry as beautiful as this could be filled with such ghetto-like buildings and a punitive disregard for its people. As time passed, my understanding of the political settingpreventing ownership of land, housing and aspiration hasmatured. However, I do not believe I have strayed from that pursuitand the hope of one day being able to design, build andown a house on Kiriri—a house extending out of country.Who has influenced you?

There are three spheres of influence for me. One is culturaland begins with my mother’s people from the Torres Strait. The second is architectural and continues with DillonKombumerri (Principal Indigenous Architect with the NSWGovernment’s Architect’s Office), Rewi Thompson (Maoriarchitect) and Michael Markham (architect). The third is philosophical and extends across a spectrum ofthought, art and politics and includes the likes of theProppaNow collective and the writings of Noel Pearson(Director of the Cape York Institute for Policy andLeadership), Professor Robert Manne and EmeritusProfessor Phillip Hughes. I expect that the ACCELERATE program will highlight afourth category—that of travel and the effects of alternativecultural immersion.

What would a successful future look like for the nextgeneration of Indigenous artists architects?

If I look forward 50 years (when I am 90 years old), Iimagine that all those contributing to the context ofarchitecture have a clear understanding of country. Our cities will have been edited, adapted and embraced astruly Australian places. People will reflect comically on theirancestors having lived in places once claiming to be ‘themost European city in the southern hemisphere’ and all thehidden Indigenous places will become part of the urbanbuilt and un-built settings. At the forefront will be Indigenous architects, guiding theway, curating independent architectural shows at Venice in Italy. Also, The Deadly Awards would have initiated a categoryfor Indigenous architects and I would be presenting the50th architecture award.How does art architecture contribute to communityresilience and wellbeing?

Architecture in Australia is yet to come to terms withcountry and its custodians. Instead we are surrounded withEuropean ideals extending from a lot of boundaries derivedfrom Terra Nullius. Australia was never a blank sheet—that is the argument ofcountry. An architecture that begins in country will inevitablybe of this place and its people. This is the contributionarchitecture can make to our communities’ resilience andwellbeing.

Photos: © British Council 2011.


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http://artsfrontier.britishcouncil.org.au

Future leaders fast forward

‘Australia was never ablank sheet—that is theargument of country. An architecture thatbegins in country willinevitably be of this placeand its people. — Kevin O’Brien


www.raftartspace.com.au

Hector’s story has many legsAn Indigenous-run arts collective in South Australia is inspiring young men to tell their stories and bringing great rewards to the community.


Every Friday, Hector Burton gathers a group of youngmen from Amata country in the north-west corner ofSouth Australia together to teach them everything

from ceremonial business to making boomerangs.As a cultural leader and prominent Indigenous artist,Hector also instructsthese young Anangumen on how to paint thestories of their country. He started off byteaching his grandsonshis own story: AnanmuraTjukurpa or TheCaterpillar Law. Soon,other Elders followed suitand the result was aperiod of intensive‘classes’ given by oldmen to young men.‘I think I’m leading youngpeople now, withpainting and makingspears and that,’ Hectortells Arts Yarn Up. ‘Iteach young men thestories of our country, sothey can share insideand outside ourcommunity.’Hector is a senior artist with Tjala Arts, an Aboriginalowned and managed art centre named after thePitjantjatjara word for ‘honey ant’.Some 120 Indigenous artists are members of thecollective. The sale of local artwork plays a large role inthe success of the Amata community and it hasgenerated financial security for many families in thecommunity and surrounding homelands. Hector, who speaks in his traditional language and uses atranslator to talk to Arts Yarn Up, believes that passing onthe culture and law of his ancestors is vitally important.‘It’s good for their future and the future of Amata country,’he says. ‘The young fellas are like young tree brancheswith green leaves. I think they do great work and they cando this work in the future, passing things on to othergenerations like my ancestors passed things on to me.‘To keep the country strong you need to keep the storystrong. Our culture has been around a long time and it’simportant it’s handed down in appropriate ways. Thereare more old people here doing the same thing.‘Anangu have always handed down culture and storiesoutside the art centre,’ Hector adds. ‘Now this happensin the art centre as well, but this is not a new thing. Thisis the way it has always been.’

According to the Manager of Tjala Arts, Skye O’Meara,the artistic strength of the community is a direct result ofthe Anangu culture being so strong.‘There is a focus on painting with integrity and within theframework of cultural law,’ she explains. ‘A commitment

has been made byyoung and old to useart making as a vehiclein maintaining culture.’ This commitment wassolidified following thedeath in 2010 of ayoung man from AmataCountry calledKumanara Raymond.He was a starfootballer—a rolemodel for many localyoung men.As the communityreeled in grief, the oldermen decided to createa series of artworks foran exhibition in honourof his name.Hector took some ofthe young men out intothe desert, where theymade their first marks

on canvas before returning to the centre. Soon collaborative works by both men and womenemerged, including some by the young men that Hectorhad taken under his wing.The exhibition took place earlier this year at RaftArtspace, which has been showing contemporaryAboriginal art for the past 10 years, first in Darwin andnow in Alice Springs.Raft Artspace Director, Dallas Gold, describes Hector asa natural leader with great generosity.‘It was his [Hector’s] idea for the exhibition, from woe togo,’ says Dallas. ‘Often young Indigenous men aremarginalised, even when it comes to art, but he got themon board and got them to see it as their art and theirstory and showed them how to be proud of theirbackground.’Dallas confirmed that the whole exhibition has beenbought by a single collector. It will be on show at theMaitland Regional Art Gallery until 15 January 2012,before being presented to the National Gallery of Victoria.Above: Hector Burton.

Photo: Skye O’Meara, Tjala Arts.

Five young cultural leaders are the fresh faces of agroundswell in the Indigenous performing arts sector.The Australia Council’s Emerging Indigenous

Producer Mentorships (EIPM) program will deliver a majorcareer opportunity to the five young producers, placingthem with mentors in leading arts organisations.One selected producer is Alison Murphy–Oates, aDarkinjung woman from the Central Coast of NSW, and descendant of the Wiradjuri nation in the Central West of NSW.She is working at Performance Space in Sydney, whereshe is being mentored by Artistic Director and CEO,Daniel Brine, who she first met when she coordinated theinaugural IndigeLab in Bundanon in 2009.Alison has just finished working with producer Marguerite Pepper on Posts in the Paddock by My DarlingPatricia, in association with Moogahlin Performing Artsbased in New South Wales. Along with fellow mentee, Lara Croydon, Alison spent thefirst week of her role at the Cairns Indigenous Art Fair,where she attended the second National IndigenousTheatre Forum. She describes it as ‘one of the highlightsof 2011 and a turning point’ for her, both personally andprofessionally.Lara is now working with the Queensland TheatreCompany (QTC) and being mentored by dynamic ArtisticDirector, Wesley Enoch. ‘It’s amazing to meet people Iadmired and wrote about when I was a university student— people such as Rachael Maza (Artistic Director ofIlbijerri Theatre Company) and Kyle Morrison (ArtisticDirector at Yirra Yaakin theatre company). Now I canactually approach these people for advice!’ said Lara.One of Lara’s first projects is researching an Indigenousprogram for QTC’s 2012 season. She points out howcritical this program is, given that Queensland has one ofthe largest Indigenous populations in Australia. Two other emerging producers, Erica McCalman andRosealee Pearson, will be starting their placements in thenew year, and just last month Lydia Fairhall commencedat the Queensland Performing Arts Centre.

The new National Indigenous Touring Consortium willprovide further momentum to Indigenous arts. It will helpdevelop skills, build capacity, boost touring infrastructureand increase market demand for performing artists. Itincludes a yearly national tour of Indigenous theatre anddance productions for the next three years.‘As a result of this consortium, we are about to see amajor shift in audience development, marketing forIndigenous works, touring infrastructure and thedevelopment of performance works,’ says MerindahDonnelly, Indigenous Program Officer for MarketDevelopment, Australia Council for the Arts.These and other initiatives, along with much hard workfrom Indigenous companies, have helped Indigenous workdevelop to a stage where the 2012 Australian PerformingArts Market (APAM), to be held from 26 February-1 Marchin Adelaide, will be able to present significant Indigenouscontent for the first time. APAM, the biggest performing arts market in the AsiaPacific region, is a critical opportunity for Australianperforming arts companies to showcase their work tonational and international buyers.‘This event is at the crux of what we are trying to achieve– making Indigenous arts commercially viable whilemaintaining cultural integrity and connecting artists andcompanies with opportunities to present their works,’ saidMerindah.Also in 2012, the Australian Performing Arts CentresAssociation (APACA) summit, to be held in August, will bededicated to Indigenous content. These events, which represent a major boost to the profileof Indigenous performing arts, flow from the AustraliaCouncil’s Indigenous Market Development Strategy. The strategy dovetails with the Australia Council’scommitment to embed Indigenous content and cultureacross all programs.‘All the initiatives come from extensive research,consulting and listening to our Indigenous communities,artists and arts organisations. It starts with marketdevelopment, but the result is to gain critical acclaim forIndigenous work, for our stories to be seen across thiscountry and the world,’ said Merindah Donnelly.


SPECIAL FEATURE

Fresh faces of Indigenousperforming artsSeveral programs and events combine to boost Indigenous arts, within Australia and internationally.

Above: Emerging Indigenous producers, their mentors and stafffrom the Australia Council at the Cairns Indigenous Art Fair atthe launch of the EIPM initiative.Photo: Tracey Warnecke.

When Pilar Kasat made the 13,000-kilometre journeyfrom Santiago to Perth in 1987, she escaped abrutal dictatorship that threatened her freedom.

Then aged just 21, she knew nothing about Australia andspoke no English. But the young Chilean activist broughtwith her two attributes that have guided her life and careerever since: a passion for social justice and an unwaveringbelief in the transformative power of community art.Almost 25 years later, Pilar is managing director ofCommunity Arts Network Western Australia (CAN WA) anda widely respected leader in the broader WA arts sector.Under her leadership, CAN WA has launched severalinnovative long-term arts projects in partnership with theNoongar people of the southwest region of WesternAustralia, a region also known as the Wheatbelt.Two CAN WA offices, or hubs, have been established inNoongar heartland—one at Kellerberrin in 2006, the otherat Narrogin in 2010.‘CAN WA had tried different programs in the past, but whatI recognised was that we needed a long-term, localpresence in the community to transform entrenched socialdisadvantage,’ Pilar told Arts Yarn Up.‘Today, we employ seven local Aboriginalpeople. Our commitment is to buildingethical relationships within thesecommunities and establishing trust. I thinkwe’ve done that—touch wood.’In March, CAN WA joined forces with theKellerberrin Aboriginal Progress Associationto host the 2011 Keela Dreaming CulturalFestival, a biennial Noongar arts and cultureevent attended by over 2,000 people.But it has been a couple of community artsprojects in Narrogin, in the southernWheatbelt, that have drawn national andinternational attention.As part of its Strong Culture, StrongCommunity program, CAN WA initiatedThe Narrogin Stories—a soundscapefeaturing the voices of the Noongarcommunity in a moving account of theircollective struggles and hopes for thefuture. ‘In 2008 six young Noongar men took theirlives,’ says Pilar. ‘The collective grief wasexacerbated in 2009 when family feudsensued. The Narrogin Stories project wasthe beginning of a much-needed healingprocess for the Narrogin community.’The soundscape featured at the programlaunch last year, attended by over 300Noongar people from a community of just 500.

The renowned Kimberley comedian Mary G, the alter egoof Dr Mark Bin Bakar (Chair of the Aboriginal and TorresStrait Islander Arts Board of the Australia Council for theArts), was MC of the event.Following The Narrogin Stories, the Yarns of the Heart doll-making project emerged, with 40 Noongar women, girlsand boys directly involved. The project has its roots in doll-making workshops first held back in 1994, also in Narrogin,by artists Nalda Searles and Pantiji Mary McLean. The 1994 workshops reconnected locals with traditionalNoongar craft practices, and the dolls were exhibitedacross Australia and in Beijing, China.Noongar Elder, Janet Haydon, explains the doll-makingtradition: ‘I can remember making bush dolls out of pegsand balls and nuts from the Quandong tree. We used allsorts of things in those days. My mum used to help makeclothes for the dolls. We loved those dolls. I’m 77 years oldnow and I still have good memories of those days.’Nalda Searles returned to Narrogin in September 2010 with fellow artist Cecile Williams to lead a new round of doll-making workshops with support from Lotterywest

and other state and federal fundingbodies.The 2010 project was a resoundingsuccess and 70 dolls are now beingexhibited as part of Yarns of the Heartat the Western Australian Museum inPerth (until 31 January 2012).Pilar recently spoke about these andother projects to arts delegates from61 countries at the 5th World Summiton Arts and Culture in Melbourne inOctober 2011.‘The context of initiating our work inNarrogin was complex,’ Pilar explains.‘There was a lot of grief, anger andpain in the community. I felt a hugeresponsibility to ensure we did theright thing by the community.’She said the collaborative nature ofthese projects has been the key to an‘amazing healing process’ thatdemonstrates how ‘community artscan give beautiful meaning tootherwise silenced voices’.

Left: Boodjarri Jija by Emily Dalgety(Doll features by Cherie Abednego& Senema Kickett). Aboriginal sistergrowing up, she’s young and pregnantand she’s very proud.Photo: Bo Won.


Pilar’s passion for healing connectionIn the Western Australian Wheatbelt, arts leader Pilar Kasat has watched art transform communities.


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

PHILIP WATKINS EXECUTIVE OFFICER, DESARTFormer director of the Tandanya National AboriginalCultural Institute in Adelaide, Philip Watkins has movedhome to Alice Springs to lead Desart, the Association ofCentral Australian Aboriginal Art and Craft Centres.Philip was born and raised in Alice Springs and is part ofthe Arrernte and Larrakia families of the Northern Territory.‘Alice Springs in the 70s was a politically active place. Iwas fortunate to be born then. Leaders in our communitywere fighting for many things: land rights, Aboriginalhealth. There were different kinds of leaders — activists— but also strong cultural leaders. ‘Culture was embedded in me from a very early age. I feelresponsible to carry on that legacy of being strong for culture.’Philip believes the young must learn to stand up for theirculture. ‘It’s not easy at times and there are hard choicesand decisions. It can be easier to walk away, but theissues have to be dealt with.’His advice is to: ‘Find a place of strength within yourself—for me that comes from my culture’.

JACOB BOEHMEARTISTIC DIRECTOR, IDJA DANCE THEATREA dancer and choreographerwith a Masters Degree inPuppetry, Jacob Boehme’sworks bring VictorianIndigenous stories to life.A proud Narangga man, Jacob

believes that while a person may be referred to as aleader, they must choose to take on the role.‘You also must accept that you are there to serve yourcraft and your community,’ he says.Jacob credits a list of people for helping him on hisjourney, from family members who ‘guided my teenagebrain into becoming a proud Narangga man’ to NAISDA(National Aboriginal and Islander Skills Association orNAISDA Dance College) leaders, who ‘taught me theimportance of cultural maintenance and preservation’.

‘Each one influenced and fed my passion for dance andvisual theatre, my lust for knowledge, slapped the bratout of me, encouraged tenacity and instilled in me a workethic that not only seeks artistic honesty, integrity andexcellence, but encourages the art of giving, sharing and humility.’Jacob recommends approaching life as ‘an eternalstudent’.

‘Once you think you know all there is to know, you may aswell write a book about it and retire.’

VICKI VAN HOUT ARTISTICDIRECTOR/CHOREOGRAPHERWiradjuri woman, Vicki Van Hout, wasdancer/choreographer for the opening of Parliament inthe lead up to the apology to the Stolen Generations.Vicki believes leading by example is the best way toensure excellence.

‘If those coming up the ranks can see a successful rolemodel, they can better picture themselves in positions ofpower and success.

‘Knowing that I’m a yardstick of sorts—someone whoothers might aspire to measure up to—this makes me abetter leader.

‘My foremost leader is my mother. She continues toinspire me with her generosity, her hard-nosedperspective, her no-nonsense advice and her strongconvictions about family.’Vicki says her fate (to become a choreographer) wassealed during a photo shoot with Bangarra DanceTheatre, during which she found ‘special delight’ inposing with a fellow dancer.

‘It is rewarding to be able to create something beautifuland tangible from pure imagination,’ she says.To those following behind her, she advises: ‘Be resilient.There will be many knock backs. Be honest in your self-appraisal. Keep sight of the big picture while maintaininga handle on the small detail.’


SPECIAL FEATURE

Reflections on leadershipArts Yarn Up asked seven artistic directors what leadership means to them, how they learned to lead and what advice they have for other future arts leaders.

RITA PRYCEARTISTIC DIRECTOR, BAIWA DANCECOMPANYBaiwa Dance Companyis in demand, nationallyand internationally, for itscareful placementof contemporary dancewithin traditionalAboriginal and TorresStrait Island dance forms.

Good leaders do the right thing by the people theyrepresent says Torres Strait Islander, Rita Pryce.The prolific producer, dancer, director, choreographer andteacher says that, while her journey has been challenging(‘just when I would get over a hill, I’d see a mountain upahead’), it has also been fulfilling.‘It’s the days that you look back up to the top of themountain as you’re coming down the other side thatmake it all worthwhile,’ she says.Rita recommends taking care who you choose to follow.‘Look to the most influential and inspiring people aroundyou and see what they’ve done to get where they are.Take more notice of those you know who may be quietlydoing great things; people like your grandfather or mum.‘Learn as much as you can from everyone around youand be innovative. Look at what makes you different anduse your uniqueness to guide you in everything you do.’

RACHAEL MAZAARTISTIC DIRECTOR, ILBIJERRI THEATRERachael Maza, originallyfrom the Torres StraitIslands, wants to fosterthe telling of Indigenousstories withincommunities—and createworks from these. As a leader of Victoria’s

only Indigenous theatre company (Ilbijerri Theatre)Rachael believes that she has an opportunity to fosterIndigenous artists, helping to grow ‘a very small pool’.‘There is a huge need to support our local stories andartists. If there is more demand for the work, we will see anincrease in incentives to keep creating work. ‘For over a year, Ilbijerri has been running an initiativecalled Black Writer’s Lab, allowing Indigenous writers towrite their stories and have their scripts workshoppedand mentored by professional dramaturges and writers.We are one of only two theatre companies in Australiaoffering this incentive.’

A teacher at East Sydney Technical College set Rachaelon her path to performance, encouraging her to pursuesinging and acting, while a childhood surrounded by

‘music, learning instruments and singing’ fostered aconfidence she can call upon.

‘I was never afraid to explore the creative side of myself,’she says. ‘I encourage anyone with a creative itch to seeit through.’

ALEXIS WRIGHT AUTHOR Alexis Wright won Australia’s prestigious Miles FranklinLiterary Award in 2007 for her novel Carpentaria on thesame day John Howard announced the Northern Territory(NT) Intervention. She is a Distinguished Research Fellowwith the University of Western Sydney’s Writing andSociety Research Group.A member of the Waanyi nation of the Gulf of Carpentaria,Alexis says her journey began when she was taken underthe wing of ‘people who were older than me, wiser thanme; they were true leaders’.

‘I was quite wild and very impatient; I wanted things to bebetter for our people.

‘They encouraged me and taught me how to be patientand work hard. That’s what I’ve done most of my life;tried to learn from others and from good people aroundthe world.

‘I think it is important to write; to explain our world. It isnecessary to have our own literature, instead of otherpeople attempting to explain our world.

‘I speak against the NT intervention at every opportunity I get. I see too much of people trying to do good thingsfor Aboriginal people, forgetting that the fundamentalreason things are wrong is because there has been nosettlement with the Aboriginal nations of this country.

‘We start to change when we get down to the idea oftreaty now, treaty first.’



Major galleries across Australia are supportingtalented and high-achieving Indigenous artsprofessionals with a range of programs designed

to boost networks and skills.Following extensive consultation with the sector, the

National Gallery of Australia teamed up with WesfarmersArts to offer two unique and streamlined programs tosupport emerging Indigenous arts managers: a fellowshipprogram and an annual Indigenous leadership program.

‘We’ve been very lucky to enter into a partnership withWesfarmers Arts,’ says Peter White, a Murri man from theGamilaroi nation, who manages the program at theNational Gallery of Australia (NGA).

‘For Wesfarmers Arts to come to the table with amajor five-year partnership focused on good outcomesand the right approach shows great vision.

‘During the consultation, we found a lot of peopleworking in isolation in the arts management sector that wedidn’t know about. The fellowship program and theleadership program are aimed at developing a network tosupport people like this.’

The Wesfarmers Arts Indigenous Fellowship offers atwo-year placement to two emerging and mid-career artsmanagers to complete a project of their choice. Duringthat time they will learn about everything from marketingto publishing, fundraising to education and governance.

The Associate Curator of Indigenous Objects andPhotography at the Art Gallery of Western Australia, Glenn Iseger-Pilkington, from the Nyoongar and Yamatjipeoples of Western Australia, is a fellowship recipient. Heis working on Indigenous Australian art and digital mediafor his project. As part of this, he is developing an iPadapplication for next year’s National Indigenous Art Triennialat the NGA.

National Youth Programs Coordinator with OxfamAustralia, Jirra Harvey, is a fellow recipient who isdeveloping an Indigenous communication strategy for theNGA. The 28-year-old Yorta Yorta and Wiradjuri womanhas a background in marketing and communications,along with a keen interest in the arts.

She is motivated to improve how galleries and buyerscommunicate with Indigenous artists and to educatewider Australia about Indigenous arts culture.

‘There are not many Indigenous people withinmarketing,’ she explains. ‘But it is essential to have thisinput into programs. Perspectives around communityengagement and consultation differ greatly betweenIndigenous and non-Indigenous cultures.

‘We have to be sensitive to cultural issues. A singlemisused word can come back and affect the artist’sreputation in the community.’

Both Glenn and Jirra kicked off their fellowships bytaking part in the annual Wesfarmers Arts IndigenousLeadership program at the beginning of the year, alongwith eight other high-achievers.

‘It was very inspirational to meet emerging artsprofessionals from around the country. Now there are nineother people I can call on if I have a question or need helpwith a project,’ says Jirra.

‘It is already opening so many doors. And it’sencouraging me to think bigger.’

The Wesfarmers Arts/NGA alliance is just one ofseveral tailored programs to develop the professional skillsof Indigenous arts leaders.

For example, four emerging Indigenous arts workersfrom New South Wales have recently taken part in a two-week intensive residency program at the Art Gallery ofNew South Wales. Each trainee is now developingcommunity-based projects within visual arts organisationsin their region.

From the Top End the Association of Northern,Kimberley and Arnhem Aboriginal Artists (ANKAAA) ArtsWorker Extension Program is boosting the professionalskills and industry networks of high-achieving artsworkers.

Under the program, eight remote Indigenous artsworkers have completed year-long residencies at theNGA, Sydney’s Museum for Contemporary Art and the ArtGallery of New South Wales.Above: Indigenous arts managers with NGA staff. Photo: NGA.


Galleries get creative aboutcultivating arts managersSeveral inspirational professional development programs have been developedto support and encourage the next generation of Indigenous arts leaders.

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

Aworld-renowned ceramic artist and sculptor fromthe Western Cape York area of Far NorthQueensland, Tapich Dr Gloria Fletcher was born in

1937 and raised on a Presbyterian Mission in Napranumin Weipa, North Queensland.

Winning her first art award at the age of 12, Tapichwas initially interested in teaching, and established the firstkindergarten in the area, but did not gain the qualificationsshe needed to teach. So, she decided to pursue her loveof art, travelling to Sydney to gain a coveted spot at theEast Sydney Technical College (National Art School) whereshe became the first Aboriginal artist to study ceramics ata tertiary level.

Tapich embraced clay as a material to express herspiritual connection to land, culture and language andbecame well known for her iconic spherical potsrepresenting the earth and cycle of life.

Tapich achieved many great things in her career andwon many accolades for her immense contribution to thecommunity as an artist, teacher and leader. She washonoured with an Australia Council Visual Arts EmeritusAward in 2006 and awarded an Order of Australia and aDoctorate of Letters from James Cook University—makingher the most highly decorated Indigenous artist inAustralia.

Tapich was as passionate about language as she wasabout art, publishing Thanakupi’s guide to language andculture: a Thaynakwith dictionary in 2007. Sadly, she wasthe last remaining speaker of the language of her mother’sfamily, Ndrra’ngith.

Named a Queensland Great in 2008, she spent manyyears living and working in the community of Trinity Beach.In 2010 the National Gallery of Australia commissionedher to create a large-scale bronze yam sculpture, whichnow sits proudly at the entrance of the gallery.

Co-patron of the Cairns Indigenous Art Fair (CIAF) in2009 and 2010, she was also commissioned to create acast bronze work for the fair — lyndhik the moon andwini’henh the star, The Lovers — which became her finalpiece.

A public memorial service, supported by ArtsQueensland, the CIAF, QantasLink, Jennifer Isaacs,KickArts Contemporary Arts and the Cairns artscommunity, was held on 20 August with the ThaynakwithElders from Weipa attending. The following artiststatement was read out, moving many people to tears:

‘Wini’henh the star and Lyndhik the moon were lovers.They camped with the other people in the tribes along thecoast of Noomboun, or Piera Head. Lyndhik would travelaround the skies and come back to his lover at night torest. Then, one day, he said it was time to leave the tribeand live in the sky. When Wini’henh heard this she said tohim, “Don’t leave me”. But the moon left as he said andWini’henh was sad. Then she made a decision. Shewould go and live in the skies. So, she followed Lyndhikthe moon, her lover, until she reached his side. He was

happy. Today you see them together, and as Lyndhiktravels across the sky at night, there is Wini’henh, theEvening Star, following him. They travel around together.

‘The design shows the star and moon as they travelacross the seas and the sun setting on the horizon for thelovers. In the waters you see two of the signs for theseasons and tides represented—Beaug the crab, whocomes out in low tide and the two Pisces, the fish, wholike to swim in for high tide. Lyndhik the moon controls thetides and seasons.

‘The design comes to mind because of the history of Cairns, the sugar times and the people now coming for their cruises, perhaps lovers too, sailing across theseas at night, when they look up to the sky, they will seethe legend.’

Above: lyndhik the moon and wini’henh the star, The Lovers.Photo: Colyn Huber, Lovegreen Photography.


Vale: Tapich Dr Gloria Fletcher AOThe Australia Council for the Arts and broader arts community pays its respects to artistand Thaynakwith Elder, Tapich Dr Gloria Fletcher AO, who passed away in April this year.


The two of usBunna Lawrie and Bart Willoughby are legends in therock music industry. These two stalwarts, who stillperform regularly, have set the bar for manymusicians to follow since the late 1970s—Bunna withhis band Coloured Stone, and Bart through his band,Mixed Relations. They’re both from the Mirning tribe,a whale people from the coastal Nullarbor Plain, westof Ceduna in South Australia. Although from the samemob, it wasn’t until they forged their way into themusic industry in Adelaide that they shared morethan just blood.

Bunna’s storyWe nearly lost Bart earlier this year. I’m 61 years of age,so I’ve got 10 years on Bart. He’s my younger brother—my mother and his mother are sisters. We’ve watchedone another grow through our journeys. He had his heartoperation and I was there for him. It’s not an easy thingbeing cut up by doctors when you’re Aboriginal. He diedfor seven minutes.

He’s a good drummer. We’ve played lots of gigstogether. When No Fixed Address broke up, I hired him forColoured Stone on our Human Love tour in the late 80sand he’s on that award-winning album.

We’re both from the Mirning tribe on the Nullarbor. Iwas born in Koonibba Mission on the far west coast ofSouth Australia. My totems are the white whale and dingo.My grandfather Mikey Free-Lawrie, whose tribal name wasDtootha, was a chief headman (boonari), medicine manand song man. He became a Christian and wore a suit atchurch. Then he’d take it off and organise and conductceremonies for us. At the age of nine, I was thebreadwinner in the family and hunted kangaroos. I grewup with my Elders, Uncles and Aunties. I had eightbrothers and two sisters.

I was pretty much inspired and influenced by theElders. They were listening to the wireless, old 45-inchvinyls, Chuck Berry, Chubby Checker, limbo rock and theBeatles. I always knew I had music in me. I was wrappedin playing, first, the drums, then guitar. My mother used toask me to stop bashing the pots.

When I was in the Adelaide College Band, Bart usedto come and watch us perform cabarets. He was about14 years old and had just started going to the Centre forAboriginal Studies in Music (CASM) in Adelaide. I showedhim a few tricks on the drums.

Bart was fostered out at a young age and his motherand father have now passed away. At his mother’s funeralwe both sang in the church. His mother was my secondmother. Bart was a bit mixed up because of it when hewas younger, but he’s a fighter. He’s fought againstracism. We have both survived.

You can’t mix music with drugs and alcohol—it doesn’twork. Once, when Coloured Stone started, I was singingwhile drunk and I fell off the drums. That was over 30 yearsago, and I’ve never done it again. I stopped drinking andbecame the one that looked after everybody on tour.

In 1979, myself and Coloured Stone were both stuck inWagga Wagga in southern New South Wales because wecouldn’t get any gigs. My brother Neil came up to me withtears in his eyes and said he wanted to go home and sellhis car. I said to him, ‘Look, if you give up now you’ll neverknow what you’re going to achieve tomorrow. We gottakeep going on. Don’t stop.’ We drove on to Sydney wherewe got lots of interest and, two years later, a record deal.

We’ve both got sons called Jhindu, and both playdrums and other instruments. My son just turned 21 andhis son is 12. My son is an amazing drummer and heplays fast!

Left: Bunna Lawrie. Photo: Bunna Lawrie.


We’ve done a lot of work building the road for ourpeople to walk on. I take my hat off to Bart—he’s adetermined young man. This year we both received theSpecial Recognition Award at the National IndigenousMusic Awards for our contribution to IndigenousAustralian music.

Our songs are about the heart and soul of allIndigenous people. Music is a medicine and a form ofmeditation. Music comes from birds and whales, the windand rain, and the vibrations when we walk. It helps us to behealthy. We’ve got to keep fit and healthy to look after ourfamily and our people. If we don’t do that, we’ll all be lost.

Since his heart operation Bart’s appreciating life a lotmore now. He’s realised that his journey is to teach andwarn others about bad habits. Our ancestors’ spiritswatch over us on our journey. We’re both whales. Whalesremember the good things people have done for them—they have excellent memories. In our tribe, we do goodthings for one another.

Bart’s storyI was born in Ceduna in 1960 and taken to Adelaide when Iwas three, so my life was a bit different than Bunna’s. I wentto a children’s home and then a boys’ home. I remember itwas 1963 when I was taken to Semaphore home inAdelaide because the food changed. I was used to bushfood and I was given jelly and ice cream and tinned food.

My father’s from Yalata in South Australia near CooberPedy—he’s Pit (Pitjantjatjara) mob. My mother’s from theMirning on the Great Australian Bight. The whale is mymother’s totem and my father’s is the wedgetail eagle.

I love my culture because when I go home toKoonibba Mission, I hang out with the animals. I love thespirit of animals, have a yarn to the whales and the birds. I connect with my people, my language, and my land.

There was a lot of chaos and violence growing up inthe boys’ home. It was pretty scary. I was confusedbecause I’d been with my sisters in the children’s homeand I was used to having all three of them around me. I was lucky that my sisters found me by accident laterwhen I’d been fostered out. When I was young I hadleukaemia and ended up in hospital with plaster all theway from my leg to my neck for two and a half years. Ididn’t remember that my sister told me recently and Ihadn’t remembered that for 33 years.

After I left the boys home I got into a bit of trouble andI went to a correctional centre for a year. I was 16 when I got out, so I felt I’d been locked up all my life. I startedmucking around on the piano, then guitar and bass, thendrums at the correctional centre. Somehow I found outabout CASM and they had heard about me. So when I got released from there on parole it was conditional that I go to CASM. If I missed one day I’d have to go back.

I practised at CASM for a year, seven days a week. I started to make a bit of a name for myself around thecommunity as a good drummer. In the school holidays I’d hang out with my cousins, Mackie (Bunna’s youngestbrother), and John John (John Miller), who was later thebass player for No Fixed Address. We’d go see Bunnaperform at the cabarets. He was playing with Ronnie Ansell, who later became bass guitarist of UsMob. One night he let me have a jam on the last song ofthe night. I liked it. Then another time I played drums at aparty to 300 bikies, and I met the future lead guitarist fromUs Mob, Pedro Butler.

Bunna’s my brother and he’s tough. We went travellingaround Australia with Coloured Stone in 1986 all throughDarwin and Alice Springs on dirt road. There were harddudes in the towns and Bunna would always deal withthem. Since I’ve known Bunna, he’s never drunk alcoholand never smoked.

I’ve survived the boys’ home and I’ve played atMadison Square Garden in New York, twice. I wasn’tsupposed to come out like this, being a rock star andtravelling the world. In Scotland we played to 32,000people at the Edinburgh Festival and backed up KD Lang.We’d come from the bush, I was 26 and in my prime—Mr Handsome Dude! The whole place went berserk.

When I haven’t seen Bunna after a long time, I cry. Heknows I’ve been through a lot and I know he’s beenthrough a lot. His family is my family.

My son, Jhindu, plays drums too like Bunna’s son,Jhindu. It’s magic! Bunna and I have been going back tothe mission and telling stories about the music to all ournephews and nieces. We’re old now. We’re grandfathersbut we’re still blowing people away with our music.

• No Fixed Address has re-formed and played acomeback gig at the Queenscliff Music Festival on 26 November 2011. A new album is also planned.

Right: Bart Willoughby. Photo: Tony Mott.

ROUND UP

21st Century StoriesCreative Australia Artists Grants up to $80,000What do we want from you?1. A major creative work.2. We want you to challenge, inspire, remind, provoke and dazzle

us! Tell us about the world through your eyes and why thisstory is important.

3. Create with other artists to ‘jump the boundaries’.4. A willingness to experiment with new ideas and to get these

ideas to thousands of people.What do you have to do?Pitch us an idea that is … powerful, provocative, personal,painful, playful, philosophical, passionate, profound, puzzling,poignant and phenomenal … a story from the first decade of the21st century. Choose an event and tell it like it is.Why are we doing this?The Aboriginal and Torres Strait Islander Arts Board’s 21stCentury Stories is a three-year funding initiative that will support10 projects for Aboriginal and Torres Strait Islander artists, artsorganisations or community organisations to tell new stories. We invite applications for artistic works that express reactionsand outcomes to the way society has transformed in the firstdecade of the 21st century by highlighting an event from eachyear of the decade. These 10 new works will undergo further development andpresentation in partnership with respective arts industryorganisations and institutions. Projects may be in any artform orcombination of artforms. Examples include theatre productions ofnew work, writing for publication, song writing for recording orperformance, or the creation of new works of art for exhibition. Closing dateApplications close Monday 16 January 2012. For an applicationform, contact Frank Trotman-Golden or Anastasia Charles:1800 226 912 (toll free) • [email protected] • www.australiacouncil.gov.au

More than 3,000 artists from over 27 Pacific countries areexpected to attend the 11th Festival of Pacific Arts in Honiara,the capital of the Solomon Islands, from 1 to 14 July 2012.The Chair of the Australia Council’s Aboriginal and Torres StraitIslander Arts Board, Dr Mark Bin Bakar announced the finalcuratorial consortia.The successful team members are: Indigenous artist, Vernon Ah Kee; Queensland Theatre Company (QTC) ArtisticDirector Wesley Enoch; Program Coordinator for kuril dhagunIndigenous Knowledge Centre at the State Library ofQueensland, Nadine McDonald-Dowd; and dancer,choreographer and cultural leader, Marilyn Miller.For more information contact Lara Croydon, IndigenousProgram Officer, QTC. 07 3010 7600 • [email protected] • www.festivalofpacificarts.com

Grant closing dates FOR THE DIARYThe 2012 Festival of Pacific Arts ‘Culture in Harmony with Nature’

New Work—grants to help Aboriginal and TorresStrait Islander artists and organisations create newartworks for presentation. Closing dates:16 Julyand 19 November 2012.Presentation and Promotion—grants to supportexhibiting, publishing, recording, presenting andpromoting of Aboriginal and Torres Strait Islanderartists and their works. Closing dates: 16 July and19 November 2012. Skills and Arts Development—grants to helpAboriginal and Torres Strait Islander artists and artsorganisations develop their ideas and skills throughmentorship programs, arts workshops, professionaldevelopment programs, conferences, seminars orplanning and development programs. Closingdates: 16 July and 19 November 2012.Cité Residency—a four-month residency in Parismay be available for an Indigenous artist from 11March to 10 June 2013. Applications close 16 July 2012.Fellowships—fellowship grants providerecognised Aboriginal and Torres Strait Islanderartists with financial support to develop a majorcreative project or program. Applications close 19 November 2012 (in 2012 Fellowships are onlyavailable for Visual Arts and Literature projects). Red Ochre Award—honours an eminentAboriginal and/or Torres Strait Islander artist whohas made an outstanding lifelong contribution tothe recognition of Indigenous arts in Australia andinternationally. Individuals, arts organisations andcommunity organisations can nominate an eminentIndigenous artist for the award. Nominations close19 November 2012. Dreaming Award—supports a young Aboriginaland/or Torres Strait Islander artist aged 18-26 yearsof age to create a major body of work throughpartnerships, either nationally or internationally.Applications close 19 November 2012. Indigenous Arts Workers Program—open toAboriginal and Torres Strait Islander artsorganisations only. The category will providefunding for either the employment of an Indigenousarts worker and a program of activity, or anIndigenous arts worker only. Applications close 16 July 2012.National Indigenous Arts InfrastructureProgram—this program funds outstandingAboriginal and Torres Strait Islander Artsorganisations in the Leading (six years) and Building(three years) categories. This category is closed for2011 and will open for new applications in 2012(for Building, closing date 16 July 2012) and 2015(Leading, closing date 16 July 2015).ACCELERATE Indigenous Creative LeadershipProgram is an innovative cultural leadershipinitiative for talented Indigenous Australians workingin the arts and creative industries. ACCELERATE ispresented by the British Council and the AustraliaCouncil. 2012 expressions of interest open March2012. To find out more, visit www.accelerate.org.auPlease note that Aboriginal and Torres Strait Islander artists areinvited to apply for grants through all of the Australia Council’sgrant categories. There are also several initiatives, such as ArtStart(www.artstartgrant.com.au), and Creative Australia Artists Grants,which may be suitable. Visit www.australiacouncil.gov.au/grants,email [email protected], or call Aboriginal and TorresStrait Islander Arts on 02 9215 9067. Toll free: 1800 226 912.

Australia Council for the Arts 372 Elizabeth Street Surry Hills NSW 2010PO Box 788 Strawberry Hills 2012T 02 9215 9000 • Toll-free 1800 226 912 • TTY 1800 555 677 • F 02 9215 [email protected] • australiacouncil.gov.au

Arts Yarn Up - Summer 2011

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