Milpirri portraits

Photographing people  was very different at Lajamanu during  Milpirri that it is in Australian cities.   Many of the  young Milpirri   wanted to have their  photos  taken,  and they often presented themselves in front of the camera. Then they would ask their friends to be part of their  performance. Often they  would direct in the sense of presenting themselves  for the camera.

From what I could see on the night  the photographers at Milpirri were non- Aboriginal people (kardiya). This was another indication that the reality of life in Lajamanu is that Warlpiri culture is being overwhelmed by a pervasive and powerful Euro-Australian culture.

2 girls at Milpirri

Warlpiri friends, Milpirri

 

Most Warlpiri feel trapped between two cultures. Young people particularly feel that engagement with the mainstream organisations that run Lajamanu requires too great a departure from their Warlpiri life, while on the other hand the culture of their elders seems increasingly irrelevant. The result is that many people are in a kind of social no-man’s land where the values of neither culture are learned deeply. In some cases the young Warlpiri  now know so little of their own culture that they do not even have the luxury of choosing which culture they want to follow.

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celebrating Milpirri

The Milpirri festival was conceived by the Warlpiri educator Steven Wanta Jampijinpa Patrick and produced by Tracks Dance Company in Darwin.  Milpirri is structured around a selection of endangered Warlpiri rituals, many of which have not been performed in their traditional contexts for decades and are largely unknown by the youths in the community.It cannot simply be described as a ‘festival’ in the Anglophone sense, since younger Warlpiri are learning Jukurrpa (Dreaming) and their own obligatory relationships to country and community, in both Warlpiri and English. The story is told in segments that feature both traditional and contemporary elements which use the  core concepts of  of culture and apply them to contemporary community living.

The 2016 Milpirri performance  draws on themes and values from the Jarda-Warnpa ceremony and  is associated with atonement and reconciliation. The performance was very colourful and joyous.One side of  the stage was surrounded  by 27   banners  designed by variety of  Warlpiri people. These are kuruwarri (customary designs) and  their visual representation on bodies and the  banners is a direct link to the most powerful and sacred aspect of culture and country.  They symbolise ancestors, country, ceremony and law.

banner, Milpirri Festival, 2016

banner, Milpirri Festival, 2016

The banners, which   act as a kind of backdrop for the Milpirri performers, are images that are a representation of Lajamanu, and so belong to, and are a part of,  the community. This  festival is a very specific community-based event that is a contemporary notion of traditional in that

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Milpirri Festival at Lajamanu

A key reason  for the roadtrip to Lajamanu was to see  the Warlpiri’s  large-scale outdoor Milpirri Festival, which  is put on by the Warlpiri community in partnership with the Tracks Dance Company for one night only every two years.  The one that I saw  on  Saturday October 15 was  the seventh biannual festival.

The rehearsals for Milpirri  were on the Friday night:

Milpirri rehearsal, Lajamanu

Milpirri rehearsal, Lajamanu

Milpirri is a ceremonial performance based largely around dance that taps into the  history of Warlpiri culture. It is a way of  passing on the  knowledge of this culture that connects the Warlpiri community and enables them  to survive on this land. Milpirri refers to the clouds that bring thunder, lightening and  rain at the start of the wet season, which then  results in grass and food. The  ceremony is a celebration. Continue reading