World Expeditions tourism joint venture with Dhimurru Rangers

Three Troop Carriers of World Expeditions tourists, a Hilux of Yugal Mangi rangers from Ngukurr, a Troop Carrier of Laynhapuy Rangers and the Dhimurru tray-back formed a convoy for the drive. Mandika Marika, the Senior Ranger explained how the Cape Arnhem area has been closed since the death of Dhimurru’s former Senior Cultural Advisor and how Djalalingba Yunupingu has opened it for the Garma Festival by performing a smoking ceremony as evidenced by a small fire at the gate at Datjala.

Mandika showed the tourists the track stabilisation work the Rangers have done at the bottom of the escarpment. He explained that the old road was badly eroded and needed barriers put in to stop the water flow eroding it further and allowing it to revegetate. Further on Mawalan Marika cut a naku bark from a gadayka (stringybark) tree for an art making demonstration in the afternoon.

Garma Panel

Within the bough shade of the temporary Garma Panel Gallery at Gulkula, old men conversing in Yolngu matha sit carving panels of wood, etching ancient totemic designs into the timber, patiently and delicately eking out the intricate cross-hatching that reveals deeper meanings in the story being told.

Work on the 2004 Garma Panel – the creation of wood block prints by indigenous artists at the festival – is in full swing.

By late this afternoon, eighteen new works printed with lithographers ink were already hanging out to dry.

Senior Yolngu artists including Djambawa Marawili and Yalmay Yunupingu have completed their works, as have highly respected artists Terry Gandila from Maningrida, BJ Timaepatua and John Martin from the Tiwi islands, and Tommy May, Dorothy May, Spider Snell and Dolly Snell from Fitzroy Crossing in the Kimberley region of Western Australia. Indigenous artists from the cities who’ve contributed include Kerry McIlvennie from Sydney.

In a process in which everything is done by hand, it is envisaged that all 48 test prints will be printed and proofed on site by Tuesday.

Bunggul Hots Up

This year the evening bunggul is developing into something of a competition as groups of dancers from different lands and clans compete for the crowd’s favour with dramatic flourishes and sprays of sand.

With hundreds of men, women and children getting involved each afternoon, competition is fierce.

This afternoon’s event included dozens of dancers from around Blue Mud Bay enacting aspects of a song cycle relating to their regional sea rights, a claim that is soon to be tested before the High Court of Australia. Dancers from the Madarrpa clan from Yilpara, Dhalwangu from Gangan and Manggalili from Djarrakpi wore white gapung or clay, the men in black nagas brandishing long spears.

The benchmark for dancing was set on Friday when the yellow naga-clad Gupapuyngu dancers from Ramingining and Milingimbi made their spectacular Garma debut.

Since then bunggul has been a kaleidoscope of colour with becostumed dancers – men, women and agile children – kicking up the sand through sunset and into the evening, men wielding spears or woomeras or flags, women in vibrant print dresses shuffling through the sand with digging sticks or bunches of leaves swishing this way and that.

As forty or fifty performers from one place dance the stories of their dreaming to the cheers of hundreds of keen on-lookers, forty or fifty more from another place are painting up in the surrounding bush, awaiting their turn to entertain, thrill and perform their histories.

This evening’s bunggul included performances by the riveting Red Flag dancers from Numbulwar in south-east Arnhem Land. Wearing red nagas, red and yellow plaited tassles and headdresses and waving flags that signify connections with Macassan seafarers long ago, the Red Flag dancers have been a highlight of bunggul for the past three years.

This time around, they’re up against some stiff competition and the audiences are loving it.

Photo Andrea Keningston

Women’s Business

I was lucky enough to participate on a walk this morning with some Yolgnu women, on official “Women’s business.” Multa as she identified herself, took a group of us “white fellas” into the bush to collect some tucker for dinner. After about 20 minutes on a dirt, bumpy road, we arrived at the place which was suitable for collecting the yams. I watched, interested, as the women used steel poles to dig into the soil, followed by digging with their hands. My respect for these women increased by the minute as they dug deeper and deeper into the earth to retrieve the yams. To identify where to start digging, the women carefully followed the vine of the plant to where it entered into the ground, quite a skillful process. The most memorable part of this trip was sitting under the shade of a large tree, chatting and sharing with Multa about aspects of Yolgnu culture. Multa was very generous with the information she shared with us, and could do so as we were all women in the group. We chatted about different aspects of Yolgnu culture, comparing at times to white culture in Australia. The insight, wisdom and compassion that Multa shared made the discussion truly enjoyable, and I found it quite a profound experience.

Back at camp, some of the Yolgnu women have been sharing their skills in basket weaving. This is very time-intensive process can take as long as 3-4 weeks just to make one basket! Basket weaving is an income-generating project for many of the women, as they sell them to art galleries in Darwin, or to galleries in Arnhem Land. The women explained that the baskets are made from Pandanus plants, the fronds of which are made into fine strips, dyed and then woven. The dyes for the baskets are made from collecting different plant species and grinding them down into a paste, mixing with water, also a very labour-intensive process. But the process is worth it as the end result is truly spectacular, and I feel very fortunate that I am able to learn this beautiful craft. (I have ultimate respect for the Yolgnu women, seeing the work loads they endure, yet the zest and passion they have for life.) I feel what I am learning here is just the tip of the ice-berg, but have been very impressed and inspired to learn, and share more with the Yolgnu people. Can’t wait to see what Day 4 has to offer!

Anna Hutchens

Kimberley Fire Man

Ted Egan Graces Garma

‘It was the best Aboriginal dancing I’ve ever seen...” So said Northern Territory Administrator Ted Egan, who opened Garma with Galarrwuy Yunupingu on Friday and witnessed the first Bunggul presentation by dancers from the Gupapuyngu families of Milingimbi and Ramingining.

‘Everyone from the oldest elder to the little 4 year old kids knew what was required of them and they danced meaningfully and beautifully... it was just tremendous to see that obviously the culture’s still well and alive in this part of the world, if it’s endangered in other parts, and as such it’s a great example to other parts of Australia.’

Ted first came up to Nhulunbuy 40 years ago and through his journey as a poet, singer and historian has forged an intimate knowledge of Indigenous cultures throughout the Northern Territory. Having lived in Alice Springs for many years, he recently moved to Darwin to take up the symbolic Administrator’s role for the N.T.

‘I’m always interested in music as it applies to Aboriginal people because in a few areas - music, culture generally, sport, art - Aboriginal people are more than equals in Australia. So I think the more concentration there is in those areas of strength the better people will understand one another and the better Aboriginal talent will be revealed and recognised. So I’d always wanted to come to Garma.’

Dusk Dundler