There are three audiovisuals in the Grounded exhibition. Wadlu-gnana (Wangkangurru language, meaning Grounded) is the first AV to be uploaded to this blog. The Australian Aboriginal song on this sound piece is from the CD “Dreaming Songs of the Warumungu Women” and provided with their kind permission and that of Papulu Apparr-kari.

The exhibition is showing next at An Lanntair Art Gallery in Stornoway, Isle of Lewis, from 13 September to 11 October, a partner event at Hebtember Festival.

If you are new to the blog, the Grounded residency diary entries and photographs begin here in Scotland and then in Australia here. An interview about my work with journalist Jim Gilchrist is on the Struileag website which can be linked to here. And a response to the Alice Springs jail post by Professor Smith can be found here. A BBC Radio Scotland interview can be found here. A review by Dr Kate Robinson can be found here. The introductory page for the blog can be found here. Feedback on the Glasgow exhibition can be linked to here. Glasgow workshops, talks and exhibition details are here. And the Digital Resources pages of the blog for further information are here and here.

Day 42, Lionel Possum and preserving language and culture


Kanytjupai and the Pitjantjatjara bible translation

20 September

I am introduced to Lionel Possum today. Lionel is the son of Clifford Possum who is considered one of Australia’s most renowned Aboriginal artists. Lionel has inherited the right to his father’s stories and his dot work has the same precision and uniformity as that of his father.

Lionel is working on a painting, Worm Dreaming. He tells me if I go out at night I can hear the whistle of the worms, digging under the earth. We sit on the concrete in the shade of some corrugated tin with his painting spread out on the ground, its precisely placed, deep ochre red and yellow dots, set beside rich dark black. He is a strong man, like his Daddy, he tells me, painting the Dreaming.

My other meeting today is with Kanytjupai. Kanytjupai is Pitjantjatjara from Pukatja (Ernabella) but lives now at a hostel in Alice Springs for her care. She is working as part of a team translating the bible into Pitjantjatjara, and has been working on this for many years. She says it will be for many years more too.

Kanytjupai shows me a copy of this amazing work, and the beautiful paintings it contains. Zebras and Kangaroos drink side by side at a waterhole with emus grazing nearby. Rabbits and koalas and snakes move through the trees and the grass, and on the horizon, the silhouette of a young Aboriginal boy feeds what appears to be a gazelle. The whole image has a beautiful golden water-colour wash.

It is important to translate the bible into language, as this has been one way that language has survived. Ironically the missionaries who introduced the bibles were also responsible for much of the banning of cultural practices. It is with great resilience that the Aboriginal people have used this medium as a means of preserving what they can of culture and language.

(The Digital Resources Australia Page of the blog has 2 new links – one on Lionel Possum and an ABC article about Australian Aboriginal youngsters retracing the steps of their ancestors)

Day 41, Anthwerrke (Emily Gap), Eastern MacDonnells


Anthwerrke, Eastern MacDonnells

18 September 2013

I have a very special morning today, meeting with Mark Inkamala and Baydon, two senior lawmen of Western Arrarnta country.

There is much they are unable to tell me of storylines related to their clan, as it is sacred information held only within the clan, but I am very grateful for what they do share.

In the same way, the basement of the Strehlow Museum where Mark now works relates to secret men’s business and ceremony. I am told that up until recently Aboriginal women would not enter even the upstairs of the museum. Much of the collection can only be accessed by the Traditional Aboriginal Custodians.

Some communities in the Northern Territory cannot be visited without a permit. And moving around the community must be done with the guidance of a cultural advisor to prevent accidental entry to sacred or men only sites.

Today Mark and Baydon accompany me out to Anthwerrke (Emily Gap) in the Eastern MacDonnells, Eastern Arrernte country. This site can be visited by the public, though at one time that would not have been possible.

Anthwerrke is the sacred site of Caterpillar Dreaming. Red ochre lined paintings, drawn onto the rocks, mark the significance and the story of this place. It is where the three caterpillar beings of Mparntwe (Alice Springs) originated, the ancestral beings for the Alice Springs area, from whom Aboriginal people conceived in Alice Springs consider themselves descended. The geographical features of the surrounding landscape were formed by the caterpillars as they travelled out from here to the edge of the Simpson Desert.

The sandy riverbed of the red-rock gorge bakes in the sun, cliff edges sharply delineated against a vivid blue sky. White-barked gums grow in the dry, where water must rush in a flood. It is a place of vivid red and white and blue with smatterings of olive green.

Standing on the naked riverbed, in the silence of the gorge, it feels like I can sink a little further into the ground. As the warmth of the sand moves upwards through the soles of my feet my body relaxes.

No-one speaks. The air is thick with silence, like some communal sigh from the watchful painting on the rock walls. The chaos of Alice Springs is miles away. That feeling I always have in Alice of being displaced from where I thought I was, and having no sense of where I am going, has simply vanished. Here we can feel grounded. Here it is as though the rocks are waiting patiently for some line of connection to past and future to re-gather its strength and for the chaos to settle to peace.

(A link to an article about The Dreaming is now up on the Australia Digital Resources page of the blog)