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DISPLAYING POSTS TAGGED: arnhem land (3)

Visiting Arnhem Weavers

Author
by Matthew Navaretti
Publish date
26 May 2014
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Matthew is our Outreach Program Manager.

Earlier this year, Melbourne Museum was honoured to host a visit of the Arnhem Weavers, a group of Yolŋu women from Mäpuru in northeast Arnhem Land. Their visit to Melbourne was facilitated by the Friends of Mäpuru who are a Melbourne based group who have visited the community of Mäpuru. By staying in the homes of members of Friends of Mäpuru, each were able to share their daily lives and activities.

The visit to Melbourne Museum started with the Arnhem Weavers being taken on a tour of First Peoples by Bunjilaka Aboriginal Cultural Centre's Project Officer Kimberley Moulton. The women connected with the culture of Koorie Victoria, especially with the stories of Bunjil and Waa having similar creation stories of Eagle and Crow ancestors from their country. The women also saw objects in Many Nations that were from their country up north, that they were very proud to see.

The museum visit was a chance for the elders to explain and share culture with the younger generations of women, museum staff and Friends of Mäpuru, connecting two ways of learning, learning about the past and seeing and understanding ‘the other way.’ The experience, which was the first visit to a museum for most of the students, creates links with their school curriculum and will be shared back home in Mäpuru.

After the tour of First Peoples the group had a back of house collections tour of Arnhem Land objects and photographs with Senior Curator of Northern Australia, Lindy Allen. This was exceptionally moving for the group to be able to connect with their cultural material made by their ancestors. The group also had the opportunity to view photographs from the Donald Thomson Collection and this was particularly special as there were many family members in the images including one of Roslyn Malŋumba’s grandfather, Wuruwul. After the Arnhem Weavers day at Melbourne Museum, Roslyn was very moved by her experience and as a gift of thanks donated a basket made by her mother and fibre artist, Linda Marathuwarr.

Women with basket Roslyn Malŋumba presenting a basket made by her mother, fibre artist Linda Marathuwarr, to Meg in the Discovery Centre.
Image: Loredana Ducco
Source: Friends of Mäpuru
 

Together FoM and the Mäpuru community are planning to sustain these cultural exchanges into the future, to give the opportunity for others from Mäpuru to share time in the city, including connecting with Yolŋu cultural artifacts at the museum.

Consulting with Gupapuyngu community

Author
by Kate C
Publish date
17 October 2012
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Bark paintings present particular conservation challenges for museums and over many years, conservators have developed low-impact techniques to stabilise objects at risk of deterioration. However these objects often have deep cultural and spiritual significance to the people who created them, and any alteration to an object – including conservation treatments – may forever affect its meaning.

This issue has fascinated MV conservator Samantha Hamilton since her Mellon fellowship at the Smithsonian National Museum of the American Indian in 2005. For around two decades, NMAI conservators have worked closely with communities to better understand the cultural implications of preservation. "Involving traditional owners provides meaningful insights into the creation and appearance of cultural materials," says Sam. "This allows conservators to make clearer ethical treatment decisions."

Two significant bark paintings in the Donald Thomson Collection needed considerable conservation treatment, which meant they were not included in the travelling exhibition Ancestral Power and the Aesthetic. Given the long-standing relationship between senior curator Lindy Allen and the Arnhem Land communities from which anthropologist Donald Thomson collected the paintings, here was an opportunity to work closely with the cultural owners of the works. Sam and Lindy began consulting with direct relatives of the original artists last year and visited Milingimbi Island to discuss these particular conservation issues. This consultation project has received funding from the University of Melbourne and the Copland Foundation.

Two men with bark painting Artist George Milaybuma Gaykamangu and his brother Dr Joseph Neparrnga Gumbula holding a small bark painting made to show traditional painting techniques.
Image: Ben Healley
Source: Museum Victoria
 

During the first week of October, Gupapuyngu Elder and Indigenous scholar, Dr Joseph Neparrnga Gumbula and his brother, artist George Milaybuma Gaykamangu (Milay), came to Melbourne to exchange knowledge about how the paintings were made and how they should be preserved. In return Sam demonstrated various ways to consolidate paint and stabilise bark so that Joe and Milay could decide on appropriate treatments. Says Sam, "the concept of preservation or conservation treatment is quite foreign to the Gupapuyngu because theirs is a living culture and they're actively painting these designs. Joe has said, 'if this was back at home, we'd just bury it and make another one.'"

Men and woman testing glue on bark Conservator Samantha Hamilton demonstrating a conservation technique on some samples of bark.
Image: Ben Healley
Source: Museum Victoria
 

Sam had many questions for Joe and Milay. "There is a layer of meaning in each brushstroke, so if we directly apply adhesive to consolidate the paint, are we altering its cultural meaning? Is it better to document the painting with detailed photographs and leave it untouched? Also, these designs are body patterns worn only by men, so should female conservators be treating them?"

During the visit, Milay demonstrated the traditional techniques used by the original creators of the paintings. He ground and mixed charcoal, white clay and two types of ochre with water to prepare the paint. He also fashioned paintbrushes from grass stems and showed Sam and Lindy how djalkurrk (orchid stem) was used to bind only the background paint layer to the bark. Sam was particularly fascinated to learn this, as it was common understanding that the binder was used with every paint layer.

traditional Yolgnu painting materials Milay's painting kit: lumps of ochre and charcoal, grass stem paintbrushes and orchid, all brought to Melbourne from Arnhem Land.
Image: Ben Healley
Source: Museum Victoria

Hands applying ochre to bark Milay demonstrating how orchid stem is used to apply a background layer of rich red ochre to the bark slab.
Image: Ben Healley
Source: Museum Victoria
 

After seeing Sam's demonstrations, Joe and Milay advised that a technique called misting would be acceptable to the Gupapuyngu community and that no direct application of adhesive should be performed with a paintbrush. They also approved conservation's technique of stabilising split bark and agreed that Sam was the right person to perform the treatment.

Sam hopes that this project will have lasting impact. "MV conservators have consulted with community in the past and it's becoming more common around the world. Where possible, I'd like to see it continue as an ongoing practice especially with our Victorian Indigenous objects and the Koorie community." During the Bunjilaka redevelopment project Sam has been consulting with the Yulendj reference group, and is very excited about collaborating with Yorta Yorta Elders to determine a long term preservation plan for the historic possum skin cloak.

Links:

Ancestral Power and the Aesthetic is at the Albury Art Gallery until 18 November 2012

MV Blog: Ancestral Power opens in Benalla

MV News: Ancestral Power and the Aesthetic

NMAI Conservation Outreach

Ancestral Power in Darwin

Author
by Jennifer Mattiuzzo
Publish date
2 August 2011
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Jen Mattiuzzo is an Exhibition Manager at Melbourne Museum who is on the team that assembled the Ancestral Power and the Aesthetic exhibition.

NAIDOC Week was the backdrop for a series of public programs and events for Museum Victoria’s travelling exhibition Ancestral Power and the Aesthetic. This exhibition includes stunning painted barks and ceremonial objects from the Donald Thomson Collection, all collected by Thomson during the 1930s and 1940s from central and eastern Arnhem Land.

Traditional Owners of these works travelled to Darwin from Arnhem Land to take part in floor talks and to welcome the exhibition.

The highlight of the week was the welcome celebration on Wednesday 6 July where Yolngu men and women from Milingimbi danced and spoke about the importance these sacred designs and stories to an enthusiastic audience of locals and tourists. They came to pay respect to their ancestor, Harry Makarrwala, who painted one of the works in the exhibition.

Ancestral Power and the Aesthetic is on display at the Museum and Art Gallery of the Northern Territory until 11 September 2011.

This exhibition is supported by Visions of Australia, an Australian Government program supporting touring exhibitions by providing funding assistance for the development and touring of Australian cultural material across Australia.

Janice Wungurrkthun and Isobel Malulawuy Gaykamangu
Janice Wungurrkthun and Isobel Malulawuy Gaykamangu paint up before the performance
Image: Samantha Hamilton
Source: Museum Victoria
 

Children during the welcome celebration
Children danced alongside their parents and grandparents during the welcome celebration
Image: Samantha Hamilton
Source: Museum Victoria
 

Dancing at the entrance to MAGNT
Dancing begins at the entrance to MAGNT before moving into the exhibition space.
Image: Samantha Hamilton
Source: Museum Victoria
 

Bobby Makurrminya Dhurrwuy
Bobby Makurrminya Dhurrwuy leads.
Image: Samantha Hamilton
Source: Museum Victoria
 

Relaxing after the performance Relaxing after the performance.
Image: Samantha Hamilton
Source: Museum Victoria
 

Links:

MV Blog: Ancestral Power opens in Benalla

MV News: Ancestral Power and the Aesthetic

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Updates on what's happening at Melbourne Museum, the Immigration Museum, Scienceworks, the Royal Exhibition Building, and beyond.

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