On the return trip once we had linked up to the Stuart Highway via the Buntine and Buchanan Highways we moved quickly south trying to make up for extra time in taking the northern route from Lajamanu. Our aim was get beyond Tennant Creek so that we could camp overnight in our swags at Karlu Karlu, a series of round boulders, which have formed from an enormous chunk of granite, and which are strewn across a large area of a wide, shallow valley.
We wanted to photograph the impressive rock formations of huge, red, rounded granite boulders in the early morning light because daylight drains all the colour out of rocks, and flattens the shapes. The next morning, whilst I was photographing the rocks I realised how much my approach to photographing the landscape worked within the common conception of the landscape tradition in which the ‘landscape’ is a pictorial way of representing, and in doing so it is transformed into something useful for human beings.
rock+tree, Karlu Karlu
Thus the colonial photographers on the various expeditions to Alice Springs and beyond were interested in how the land could be useful for development–ie., for the pastoral industry or for agriculture. Karlu Karlu in contemporary postcolonial Australia is an iconic site for the tourism industry, which frames the landscape as something to be viewed and appreciated. Karlu Karlu is right up with Uluru and the Olgas as iconic tourist sites.
We left Lajamanu via Top Springs so that we could link up to the Stuart Highway via the Buntine and Buchanan Highways. The Landrover’s compressor housing had been damaged, and so we had to avoid the long drive over the severe corrugations on the Tamani Road. Whilst having lunch at Top Springs I realised that the photography being done on this road trip was working within contemporary art, in that it is part of the current of art that emerges from post colonialism in a globalised world.
Top Springs, Northern Territory
This contemporary art current is a new temporality: it is decentred and diverse, is post medium, is more open to an interaction with artists from different cultures, has no brief against the art of the past, no sense that the past is something from which liberation must be won, has taken leave of the linear conception of history with its carrying art into the future whilst waging war against the old old forms. The conception of time is one of a set of possibilities rather than a linear progression. Continue reading
Between the end of the 2016 Milpirri Festival and prior to leaving Lajamanu we visited Emu water hole just outside Lajamanu. The waterhole was full and it in a Tanami desert-scape of sparse vegetation ( spinifex, desert oaks, acacias and mulga trees), blue skies and strong sunlight. The history of the desert is one of a ice gre around 20,000 years ago, which retreated around 11,000 years ago and the rangelands emerged. That shift to an arid zone is a climate change event.
Desert in Australia traditionally means unsuitable for pastoral undue to the sandy soils that are deficient in nutrients and the spikesy spinifex grasses that are unpalatable to stock.
Kitty + Ursula, Emu Waterhole
The Warlpiri have extensive knowledge of water sources in the flat terrain in their dreaming stories, their vocabulary has names for different types of transient or permanent waterholes (e.g, rock holes, soakages) and they pass their knowledge about water holes and food tracks on through dance and paintings. I started to decode these paintings whilst at Lajamanu —I got as as far as circles for waterholes, lines for journeys, half-circles for people. Continue reading
Whilst I was in Lajamanu I experimented with making a few black and white landscapes around Hooker Creek as well as making the coloured ones. These images show that the conventional idea of the arid landscape in this region of the Tanami desert as a timeless boring, barren landscape that you drive through to get to the Kimberley is misleading. This representation of the desert–the emptiness, hostility and otherness—has its roots in the 19th century colonial English male explorers (e.g., Charles Sturt and Edward John Eyre) inland expeditions.
In contrast to the view of deserts as timeless lands, as ‘a featureless tract of eternity in which nothing had changed or would change deserts have a history and the ones in central or arid Australia are post-glacial and, as they are the product of historical processes, there is a diversity of central Australia’s deserts. They are different places with different histories.
The photo experiment was done as a reaction to the hyped up, heavily saturated colours of the tourist aesthetic that I’d seen everywhere on the internet before started the trip to the Tanami Desert. The saturated red dirt, green bushes, blue sky is the norm—- e.g., the stock Getty images of the country– form the backbone of the aesthetics of travel photography. Their conception of the Outback is the romanticised one of the dream of escape, adventure and opportunity to be free.
These landscapes were made in the early morning just after sunrise and before the light became too bright, contrasty and hard to photograph. They were made hand held with slow film as I didn’t take a tripod with me due to a lack of room in the Landrover Discovery. This is country that is going to be affected by climate change. Hence the relevance of a climart that acknowledges that we are part of nature and not separate from it, and which helps to encourage the transformational thinking required to move us towards environmental sustainability.
A couple of days after the Milpirri Festival had finished we drove north out of Lajamanu to Top Springs via the Buntine Highway The Landrover Discovery was damaged, so we did not make a detour to go to Kalkarindji (formerly Wave Hill) or to take a look at the Victoria River. This region is the traditional land of the Gurindji peoples and I kept on thinking of the myths of colonial history of this region. These myths have shaped how Australian’s have traditionally viewed the country and its indigenous people.
The myth about Aboriginal people is that before European invasion, Aboriginal people were simply living off the land, with no civilization and a culture that didn’t make it out of the ‘stone age’ despite tens of thousands of years of human habitation. European colonists myth painted blackfellas as primitive and that the land was an untamed wilderness. European settlement could occur because the land was seen as desert and uncultivated and inhabited by a backward people. The myth is part of the core narrative of colonial history about the establishment of the pastoral industry, which celebrate European exploration, pioneering, colonisation and conquest. In this narrative Aboriginal people were part and parcel of the environment: an element to be overcome by force if necessary, along with drought, wild animals, hunger and thirst.
creeper and tin
This is a myth and narrative is notable for how it covers over some marked historical silences. Continue reading
The most seductive time for my photography in the Tamani Desert was just as the sun dipped below the horizon. The magic hour. Except that the hour was more like 15 -20 minutes:
It was a world of gentle and subtle pastel colours. Even more so than just after dawn. I confess that I had the colour palette of Albert Namatjira in mind when I was photographing at twilight. His water colour landscapes of the desert country around Hermannsburg (Ntaria), particularly the Arrernte lands around the Western MacDonnell Ranges, were delicately coloured. His watercolours of ghost gums, desert flowers and rocky outcrops of the MacDonnell Ranges were often seen as both derivative ( he used an existing white man’s art form) and pretty in a chocolate-box kind of way. They were viewed as ultimately vacuous. Continue reading
Whilst I was at Lajamanu I was fortunate enough to attend a Baptist service in which Bishop Haigazoun Najarian and Deacon Nishan Basmajian from the Armenian Apostolic Church of the Holy Resurrection in Chatswood, Sydney gifted and blessed two Armenian khachkars (or cross stones) to the indigenous Baptist Church, under Jerry Jangala Patrick, the local pastor.
Baptist missionaries had visited Hooker Creek from the early 1950s to teach their version of Christianity to the Warlpiri, then they were resident from 1962. In 1978 settlement was handed to Aboriginal community control and renamed Lajamanu. The Church was an example of an Indigenous Baptist church in Australia; one that is culturally ‘hybrid’, with a local identity. The bible on the lectern, for instance, was written in Warlpiri.
Jesus is the light of the world
I did not know the relationship between Warlpiri cosmology and the Baptist Christian one; nor do I know whether much work has been done on the relationship between Aboriginal cosmogony and the full breadth of biblical creation theology. This is important because the cultural aspects of Baptist ceremony and ministry lose their relevance unless they are anchored in the Warlpiri’s beliefs, customs and values. Cosmology is the prime mover in Warlpiri society.
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
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
Whilst I was at Lajamanu I would sleep in a swag on the verandah of the Learning Centre, rise before dawn, quickly dress, then walk around the township taking photos before the early morning light became too bright.
I usually ended up in the Hooker Creek area and wandering along the dry river bed as this gave me more time for photography. The township is on the eastern side of Hooker Creek. The creek is normally dry and a flooded Hooker Creek is a rare occurrence in the Wet season at Lajamanu.
tree, Hooker Creek
Lajamanu used to be known as Hooker Creek circa 1948 –1978 . That was when it was a government settlement which also included a Baptist mission from the 1960s. Government here means the Commonwealth government since 1 January 1911 marked the date in which the Northern Territory became the responsibility of the Commonwealth. At the time there was a belief that Aboriginal people were an inferior and doomed race.
Some held the view that full blood Aboriginal people would die out in within a few generations, and the best thing that government policy makers could do for them was to provide a comfortable existence until that happened. Settlement meant the Chief Protector was empowered to assume the care, custody or control of any Aboriginal or half-caste if, in his opinion, it was necessary or desirable in the interests of that person for this to be done. Continue reading
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 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