Watch the Video
Saturday, December 9, 2006
Pioneering Outstation
1998 Old Andy Tjungurrayi worked with the European Owners of the MT Wedge Cattle Station Lease and the Central Land Council http://www.clc.org.au/ to Claim his ancestral lineage to this vast landscape.
Old Andy camped with a car drawn water tank and bomb vehicles on his land, as the time consuming Land Claims preceded through the Courts.
Eventually the Claim was authorized and a Water Bore unit searched for suitable artesian supplies of good water.
Eventually site was chosen and the 3 small steel huts on cement slabs were installed and Karrinyarra was established.
Old Andy and Entalura Nangala along with his son in law Richard Swan Tjakamarra and Nora Napaltjarri pioneered life in this independent life style.
With Tjungurrayi’s passing, he became the first traditional elder to be legally returned and buried on his traditional land.
From the outstation the Central Mt Wedge cluster of ranges maintain an enduring presence.
The families look towards these mountains and speak up the story that all the Napaltjarri’s and Tjapaltjarri’s came from those sacred sites about the ranges.
The Creation Rainbow Snakes/ 2 Tjungurrayi Brothers still are present in Monolithic Rocks formation next to primary water sources.
Ancestral heritage teaches law and maintenance ceremonies for this land and songs, dance, visual icons of body paint and ground paint, kinship are all the heritage of their grandmothers and grandfathers extending back into the Jukurrpa/ the Dreaming.
Old Andy camped with a car drawn water tank and bomb vehicles on his land, as the time consuming Land Claims preceded through the Courts.
Eventually the Claim was authorized and a Water Bore unit searched for suitable artesian supplies of good water.
Eventually site was chosen and the 3 small steel huts on cement slabs were installed and Karrinyarra was established.
Old Andy and Entalura Nangala along with his son in law Richard Swan Tjakamarra and Nora Napaltjarri pioneered life in this independent life style.
With Tjungurrayi’s passing, he became the first traditional elder to be legally returned and buried on his traditional land.
From the outstation the Central Mt Wedge cluster of ranges maintain an enduring presence.
The families look towards these mountains and speak up the story that all the Napaltjarri’s and Tjapaltjarri’s came from those sacred sites about the ranges.
The Creation Rainbow Snakes/ 2 Tjungurrayi Brothers still are present in Monolithic Rocks formation next to primary water sources.
Ancestral heritage teaches law and maintenance ceremonies for this land and songs, dance, visual icons of body paint and ground paint, kinship are all the heritage of their grandmothers and grandfathers extending back into the Jukurrpa/ the Dreaming.
Sunday, December 3, 2006
Australian aboriginal artists entered the contemporary art market in the 1970's with the Genesis of the Papunya Tula. Taking their visual arts imagery and reinterprating them onto the Acrylic on Canvas medium , the world's oldest arts continiuum found unexpected new life.
The artists from Karrinyarra Artists are direct family of these original Luritja Papunya Tula artists.
The first papunya women artists emerged from this familly and now there are over 20 family members proficient in continuing this family heritage.
The sacred visual metaphores from the Jukurrpa/ Dreaming have been modified for public viewing yet carry all the continuum for holding Myth/ Meaning for an Aboriginal Spiritual Landscape.
These visual metaphors template on primary icons common to all Cultural Streams from the Collective.
My work as a Master Weaver and Cultural Educator has let me test the power of these visual arts archetypes.
In the front line trenches of International Performance/Events , Youth at Risk / URUB TRUST , Arts / Education ------- We have witnessed the movement / transformational qualities the Practise of these metaphores incure.
The artists from Karrinyarra Artists are direct family of these original Luritja Papunya Tula artists.
The first papunya women artists emerged from this familly and now there are over 20 family members proficient in continuing this family heritage.
The sacred visual metaphores from the Jukurrpa/ Dreaming have been modified for public viewing yet carry all the continuum for holding Myth/ Meaning for an Aboriginal Spiritual Landscape.
These visual metaphors template on primary icons common to all Cultural Streams from the Collective.
My work as a Master Weaver and Cultural Educator has let me test the power of these visual arts archetypes.
In the front line trenches of International Performance/Events , Youth at Risk / URUB TRUST , Arts / Education ------- We have witnessed the movement / transformational qualities the Practise of these metaphores incure.
Subscribe to:
Posts (Atom)
