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We respectfully advise Aboriginal and Torres Strait Islander peoples that this Padlet contain images and intellectual property that may be of a sensitive nature.

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We respectfully advise Aboriginal and Torres Strait Islander peoples that this Padlet contain images and intellectual property that may be of a sensitive nature.

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Contemporary Aboriginal artist Danielle Mate-Sullivan hand painted this table tennis table.
“The design represents a Journey Line. It is a symbol that talks about a mob moving from one place to another and stopping at the circles, which are often a campsite,” Danielle tells UnCover about the design painted in early 2019.

“The U shapes represent people. The overall design speaks about the journey that students are on, different paths and people along the way.”

Creator: Danielle Mate-Sullivan
Date Created: 2019
Type: Painted Object
Medium: Paint on a pre-made table tennis table

Reference List
2019, A Stroke of Indigenous Originality, Dhunning – Indigenous Impact, University of Canberra, viewed 5th March 2020, <https://www.canberra.edu.au/uncover/news-archive/2019/march/a-stroke-of-indigenous-originality>

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Boomerang is a throwing tool, it has different styles and colours as carving and colouring of boomerangs differs across Australia, and the famous design taking the V shape and is designed to orbit an axis perpendicular to the direction of its flight. Boomerang Bounce is designed to return to the thrower. It is known as a weapon that some Australian Aborigines use for hunting and they make it out of wood.

National Museum Australia n.d. Earliest evidence of the boomerang in Australia, viewed 11 March 2020, <https://www.nma.gov.au/defining-moments/resources/earliest-evidence-of-the-boomerang-in-australia>.

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Here is a photo of a painting on the top floor of Building 2. It is a corroboree frog and there are several other paintings along the wall. It was created by Faith Kerehona and Bohie Palecek. Corroboree frogs are an endangered species due to habitat destruction. The word ‘corroboree’ is another word for a dance ceremony or informal gathering. As a future teacher I will be engaging in multiple corroborees in my career.

Attached is a link to Faith’s Instagram page where she posted a photo of the frog
https://www.instagram.com/p/B1CzC5PH2UQ/?igshid=1xuh2m54jzk0

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Located in Building 7 on level B (near main entrance opposite the staircase) is a design (mural) which was created by artist Dale Huddleston (1965- ) (University of Canberra n.d.). Huddleston was born in Sydney and grew up and was educated in Canberra; he is connected to the Ngardi language group of the Roper River Region in Eastern Arnhem Land and has cultural associations with the Wiradjuri and Talbragar people of New South Wales (Burrunju Aboriginal Corporation 2014). The mural was commissioned in 1992 for the Ngunnawal Centre and includes a variety of motifs and designs Huddleston is well known for (University of Canberra n.d.).

Creator: Dale Huddleston

Date Created: c1992

Type: Artwork

Medium: Paint

Reference List

Burrunju Aboriginal Corporation 2014, Dale Huddleston, Burrunju Aboriginal Corporation, Conder ACT, viewed 10 March 2020, <http://aboriginal-arts.com.au/daleh.htm>

University of Canberra n.d., Dale Huddleston, Mural, University of Canberra, viewed 10 March 2020, <https://www.canberra.edu.au/about-uc/art-collection/the-art-collection/dale-huddleston,-mural>

Image Credit: @avpadlet

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The University of Canberra (UC) art collections houses almost 700 works of art purchased over the last 40 years. UC’s cultural heritage collection includes a woven dilly bag by Burarra artists Laurie Margiya, of the Maningrida Arts and Cultural Centre. The dilly bag still carries its original tag from the Art Centre, which categorises the artwork by a category number, medium, dimensions, artist’s name and Language group. The label also gives a short description of the Art Centre’s location, Arnhem Land, and ownership as a community organisation owned by its artists.

Artist: Laurie Margiya

Language: Burarra (Martay)

Item: Dilly bag

Cat. no.: 634-06

Medium: Pandanus
Dimensions: 140x100mm

Date purchased: 1980s

UC’s provides that it respects the rights of artists and copyright holders of the artworks in its collections, as well as makes every effort to gain permission to reproduces images on its website. Additionally, UC advises Aboriginal and Torres Strait peoples that its online art collection content contains images and intellectual property which may be of a sensitive nature.

While I have received permission to post an image of Laurie Margiya’s dilly bag from the Faculty of Art and Design, I have chosen not to.

References

Somerville, W 2020, Week 1: What does it mean to decolonise a museum, Lecture, Decolonising the Museum (11123), University of Canberra, 10 February.

University of Canberra n.d., ‘Works of Art’, UC, viewed 11 March 2020, https://www.canberra.edu.au/about-uc/art-collection/the-art-collection.

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The streets cutting through the University of Canberra are words of the Ngunnawal language. The use of these words helps represent the presence of the Indigenous culture, and the importance of a respectful and growing relationship with the local Indigenous culture University of Canberra. It represents the desire to deepen the understanding of the Ngunnawal language and traditions.
Kirinari roughly translates to 'Place of Lewning [learning]'.
Bimbimbie roughly translates to 'Place of Many Birds'

Reference List
n.a. (1961, December 20). Aboriginal House Names and their meanings. The Women's Weekly. Retrieved from https://trove.nla.gov.au/newspaper/article/51392923/4830881

Volume 21, Issue 3, Page 5. https://aiatsis.gov.au › files › digitised_collections › dawn_index › 5.pdf

(Not actually sure what this is)

UC website - Maps

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The names of many streets on campus are indigenous: 

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The names of many streets on campus are indigenous: 

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Such as Allawoona Street, Monana Street, Werocata Street and Pinaroo (also two other streets that mentioned by fellow student).

Allawonna Street means place of hot winds Man.
Monana means who climbed up to the sky (Legendary).
Werocata means cockoo place
Pinaroo means old man (Cooper, 2000)

Using indigenous words to name streets in university shows respect to their culture and the acknowledgement of the fact that is traditionally aboriginal land.

Reference list:
Cooper, H. (2000). Digitised Resource Viewer. Retrieved 11 March 2020, from http://digital.slv.vic.gov.au/view/action/singleViewer.do?dvs=1583929484711~767&locale=en_US&metadata_object_ratio=10&show_metadata=true&VIEWER_URL=/view/action/singleViewer.do?&preferred_usage_type=VIEW_MAIN&DELIVERY_RULE_ID=10&frameId=1&usePid1=true&usePid2=true

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Ngaladjima (the Indigenous Garden Beds).

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Ngaladjima (the Indigenous Garden Beds).

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Info about Gardens from UC Article:
17 April 2019: Launched today at the University of Canberra, the Ngunnawal Plant Use Education Space is planted with varieties of vegetation significant to the Ngunnawal peoples, the Traditional Owners of the land on which the University’s Bruce campus stands.

The garden was launched by Professor Deep Saini, Vice-Chancellor and President of the University of Canberra and Elder in Residence Aunty Roslyn Brown. Aunty Agnes Shea, the oldest living Ngunnawal Elder in Canberra, delivered a Welcome to Country for all in attendance.

At the launch, the space was gifted with its Ngunnawal name, Ngaladjima, by the United Ngunnawal Elders Council. Pronounced “narlad-jeema”, Ngaladjima is a Ngunnawal word for plants of different sizes, including trees.

Planted with 24 different plants, Ngaladjima will help the University to strengthen its inclusive learning community in which equity is deeply embedded, and diversity is a major strength.

"The Ngunnawal Plant Education Space recognises the cultural history of this land and values the ongoing rich cultural legacy of the Ngunnawal people," said Professor Peter Radoll, Dean of Aboriginal and Torres Strait Islander Leadership and Strategy.

Environmental organisation Greening Australia cultivated and developed the space in December 2018.

The native Ngunnawal plants chosen have various uses. These include Kangaroo Grass, which can be used for weaving baskets and fishing nets; Kurrajong, which has edible seeds, sap and shoots; and Narrow Leaf Hop Bush, which has leaves that relieve toothache.

Other plants can be used to build fires or for ceremonial purposes, to make dyes and paints, and for a myriad other purposes.

The plants were all selected from Ngunnawal Plant Use, a guide to the use of traditional Aboriginal plants in the ACT region, published by the ACT government.

The plants in Ngaladjima are traditional to the Ngunnawal region. Each plant is accompanied by a sign detailing the plant and its uses.

The Ngunnawal Plant Use Education Space was created to provide a culturally safe environment for students, staff and communities, and in recognition of the First People, Aboriginal and Torres Strait Islander communities.

Reference List

Lazaroo, S. and Kang, K. (2019) [online] Available:  https://www.canberra.edu.au/about-uc/media/newsroom/2019/april/uc-launches-education-space-with-native-plants-used-by-the-ngunnawal-peoples, 5/03/2020.

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The Ngunnawal Plant Use Education Space was created to provide a culturally safe environment for students, staff and communities, and in recognition of the First People, Aboriginal and Torres Strait Islander communities.
Located adjacent to the University's library, it is home to varieties native to the ACT region which the Ngunnawal people have used for a myriad of purposes (University of Canberra).
''The Ngunnawal Plant Education Space recognises the cultural history of this land and values the ongoing rich culture legacy of the Ngunnawal people'' - Professor Peter Radoll, Dean of Aboriginal and Torres Strait Islander Leadership and Strategy.

Launched by: Professor Deep Saini and  President of the University of Canberra and Elder in Residence Aunty Roslyn Brown.

REFERENCES:
16-04-2019, Ngunnawal Plant Use Education Space to facilitate cultural exchange at UC, University of Canberra, https://www.canberra.edu.au/about-uc/media/media-releases/2019/april/ngunnawal-plant-use-education-space-to-facilitate-cultural-exchange-at-uc
17-04-2019, UC launches education space with native plants used by the Ngunnawal peoples, University of Canberra,  https://www.canberra.edu.au/about-uc/media/newsroom/2019/april/uc-launches-education-space-with-native-plants-used-by-the-ngunnawal-peoples

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Having wondered about the origin of markings around the base of this new sculpture on campus I was motivated to investigate further after our tutorial.
All articles I found were clear that it was a gift by Dr Chellapah which he commissioned Geoffrey Drake-Brockman. They also mention the values Dr Chellapah hoped to impart: peace, love, non-violence, trust, right conduct. However, only a Canberra Times article mentions these are, "all words included on the sculpture on Aboriginal motifs, to reflect the history of his adopted home." The Uni Canberra media release and their Art Collection article do not mention any Indigenous connection. However, on the plaque next to the artwork a section reads, "The artwork has been gifted the Ngunnawal name Galambany, meaning 'We include you' by the United Ngunnawal Elders Council." I find it interesting that some sources mention a connection with ICIP and some are forgetful of it.

Creator: Geoffrey Drake-Brockman
Date Created: 2019
Type: Sculpture
Medium: "self supporting triangulated monocoque that splits into 3 twisting arms of stainless steel that join in axial union at the apex and base. The exterior is mirror polished with internal surfaces painted in colours that represent ochre of the land."

Reference List

Doherty, Megan 2019,

New sculpture at University of Canberra is at one with us all, Canberra Times, viewed 5th March 2020, <https://www.canberratimes.com.au/story/6479956/new-sculpture-at-university-of-canberra-is-at-one-with-us-all/>

One by Geoffrey Drake-Brockman, UC Art Collection, viewed 5th March 2020, <https://www.canberra.edu.au/about-uc/art-collection/the-art-collection/one-by-geoffrey-drake-brockman>

7 November 2019, Truth, respect, love and peace: University of Canberra unveils sculpture 'ONE', UC Media Releases, viewed 5th March 2020,

<https://www.canberra.edu.au/about-uc/media/media-releases/2019/november/truth,-respect,-love-and-peace-university-of-canberra-unveils-sculpture-one>

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The Pieta of the North [painting] - Andrew Sibley (1996)

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The Pieta of the North [painting] - Andrew Sibley (1996)

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I came across this interesting painting in Building 1, in the stairwell next to the ‘UC Life’ office. It was hard to find details of this painting as there are no details next to it but when I zoomed in on the picture I took, I found the words ‘Pieta of the North - Sibley 1996’ in faint writing. Amongst my research, I found that this painting has been retitled to ‘The Australian Pieta’ and was donated as gift by the Melbourne artist to UC in 2003.

Here is what and excerpt I found about the painting:

‘In painting The Pieta of the North (1996) Sibley took up a [similar] theme of mistreatment and of black deaths in custody. Although the image is based on a medieval statue - a traditional Pieta with the grief-stricken Madonna supporting her son’s dead body which Sibley saw in Lithuania - he has translated it into Australian terms. The Madonna is an Aboriginal woman and her son is also black. Moreover, the building in front of which they are seated is the Darwin courthouse, symbolically white and expressive of authority, with its windows barred. Significantly, the form is also reminiscent of a marble high altar used for offering the Christian sacrament of the body and blood of Christ.’ (Thomas, p.50, 2004)

References: Thomas, D (2004) Andrew Sibley: An Epic of the Everyman [ebook] retrieved from https://books.google.com.au/books?id=E3bYX10wulgC&pg=PA23&lpg=PA23&dq=the+pieta+of+the+north+sibley+1996&source=bl&ots=zk_lwQSA64&sig=ACfU3U1eN47OJfYj_GASi-evtIALD33Ckg&hl=en&sa=X&ved=2ahUKEwiSvYHDxpPoAhUTgOYKHViOC48Q6AEwAHoECAkQAQ#v=onepage&q=the%20pieta%20of%20the%20north%20sibley%201996&f=false

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Held by the University of Canberra Art Collection and created by Karla Dickens, an artist of Wiradjuri, Irish and German heritage.

"Second skin represents a warrior that finds peaceful moments and sits in reflection. She is digging -up courage and raw nerve, licking wounds, to rise once more to fight the next round. Beaten and bruised, she shines." (University of Canberra n.d.)

Creator: Karla Dickens
Date Created: 2018
Type: Sculpture
Medium: Polystyrene, fibreglass and steel

Reference List

Contour 556 2018, Karla Dickens, Contour 556, viewed 5th March 2020, <https://www.contour556.com.au/karladickens>.
University of Canberra, Karla Dickens Second Skin, University of Canberra, viewed 5th March 2020, <https://www.canberra.edu.au/about-uc/art-collection/the-art-collection/second-skin-by-karla-dickens>

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The Artist:

Born in 1967 in Sydney, Karla Dickens is an artist of Wiradjuri, Irish and German heritage. From her website, Dickens remarks upon her formative years as a 'double dawn for Aboriginal people' with the referendum that provided Aboriginal peoples with status. It was a time of self discovery which had a strong influence on her creative talents. Whilst embracing the notion of identity politics her works foster intra and cross cultural dialogue through the forum of contemporary art.

Karla has participated in numerous solo and group exhibitions. Dickens' important group exhibitions include Defying Empire: 3rd National Indigenous Art Triennial at the National Gallery of Australia (2017); The National 2017: New Australian Art, Carriageworks, Sydney and Grounded: Contemporary Australian Art at the National Art School Gallery, Sydney (2017). Her work is held in major collections including the National Gallery of Australia; National Museum of Australia, Canberra; Australian National Maritime Museum, Sydney; and Artbank, Sydney. Karla is represented by Andrew Baker Art Dealer, Brisbane.

The Work of Art:

According to Karla, Second skin represents a warrior that finds peaceful moments and sits in reflection. She is digging -up courage and raw nerve, licking wounds, to rise once more to fight the next round. Beaten and bruised, she shines.

What do you think? We are currently seeking feedback on this work of art with the view of potentially purchasing it. Please send your thoughts to the Art Collection Coordinator, Alex Stalker-Booth, Alex.Stalker-Booth@canberra.edu.au

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The Artist: Born in 1967 in Sydney, Karla Dickens is an artist of Wiradjuri, Irish and German heritage. From her website, Dickens remarks upon her formative years as a 'double dawn for Aboriginal people' with the referendum that provided Aboriginal peoples with status.

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Arone Raymond Meeks - Kukumidjii/Kukulanadiji peoples (2008)
Black Ink Art - Displayed at the National Gallery of Australia

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The Spiny-Headed Mat-Rush, also known as Lomandra longifolia is a perennial flowering grass native to Australia which has been historically used by different Indigenous groups in Australia, including the local Ngunnawal people. The garden containing the pictured grass was created by the University of Canberra to celebrate and recognise the relationship of the Ngunnawal people, the traditional custodians of the land, to the native flora.The grass blades are used for weaving, with woven fibres used to create baskets and textiles, the base of the grass retains water and are chewed to extract the water for a drink when no water is present. The flowers and seeds are also edible, with the seeds sometimes being ground to use for flower. The description on the plaque reads food, weaving, fibre, medicine.This plant is located by ‘The Well’, in UC, close to the community garden.Knowles, L, Lothian R, Hampshire, J, Smith G, Schroeder, D and Taylor, L, 2017, Uses for Native Plants of the Mornington Peninsula, https://advance.vic.edu.au/wp-content/uploads/2014/10/Uses-for-Native-Plants-of-the-Mornington-Peninsula.pdfEducation Services Australian National Botanic Gardens, 2004, Aboriginal Plant use in south-eastern Australia, https://parksaustralia.gov.au/botanic-gardens/pub/aboriginal-plantuse.pdf

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The Spiny-Headed Mat-Rush, also known as Lomandra longifolia is a perennial flowering grass native to Australia which has been historically used by different Indigenous groups in Australia, including the local Ngunnawal people. The garden containing the pictured grass was created by the University of Canberra to celebrate and recognise the relationship of the Ngunnawal people, the traditional custodians of the land, to the native flora.The grass blades are used for weaving, with woven fibres used to create baskets and textiles, the base of the grass retains water and are chewed to extract the water for a drink when no water is present. The flowers and seeds are also edible, with the seeds sometimes being ground to use for flower. The description on the plaque reads food, weaving, fibre, medicine.This plant is located by ‘The Well’, in UC, close to the community garden.Knowles, L, Lothian R, Hampshire, J, Smith G, Schroeder, D and Taylor, L, 2017, Uses for Native Plants of the Mornington Peninsula, https://advance.vic.edu.au/wp-content/uploads/2014/10/Uses-for-Native-Plants-of-the-Mornington-Peninsula.pdfEducation Services Australian National Botanic Gardens, 2004, Aboriginal Plant use in south-eastern Australia, https://parksaustralia.gov.au/botanic-gardens/pub/aboriginal-plantuse.pdf

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Tussock Grass is used by the Ngunnawal people in making mats, baskets, bags and nets facilitating the means to harvest native plants, catch or fish. This plant can be found in the Ngunnawal Plant Use garden and this information is from the Ngunnawal Plant Use guide.
The use of Tussock Grass in weaving would be an example of Indigenous ICIP and the written knowledge in the plant use guide also.

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UCU Shop stocks Indigenous sourced wares

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UCU Shop stocks Indigenous sourced wares

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Happily displayed in their window are several wares incorporating Indigenous Intellectual and Cultural Property into their designs. There are two painted boomerangs, a plush kangaroo with chest designs, and soaps scented with quandong or gumby gumby blue mallee eucalyptus. We are assured by the tag on the kangaroo that, "Kelly Roach is a descendent of the Kamilaroi People. Kelly's art is inspired by the Kamilaroi Dreamtime, the beginning that never ends, and blends both Aboriginal and contemporary Australian art... All our Kamilaroi Rarities artwork is a licensed reproduction of Aboriginal art by Kelly Roach and all royalties are paid." It is good to see that UCU Shop seem to have done their due diligence that the stock has not taken advantage of Indigenous Australian artists.
Interestingly, the gumby gumby used to scent the soap has been in the news of ICIP recently. ABC reported earlier in 2020 that non-indigenous business partners had failed in their bid to trademark the word gumby gumby as a name for a central Australian bush medicine. This was welcomed by Indigenous Elder, Steve Kemp who said it went against the benevolent nature of Indigenous medicine. Now that they have failed to claim that they invented the word used for generations of Indigenous medicine men, they business partners are facing a challenge to their patent on an extraction from the leaves. Scholars have submitted a challenge stating they believe the process was not novel enough to count as a new invention.

Reference List
Burt, Jemima 2020,

Non-Indigenous business fails in bid to trademark Aboriginal bush medicine, ABC, viewed 5th March 2020, <https://www.abc.net.au/news/2020-01-24/gumby-gumby-trademark-fails/11890218>

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Kunmanara (Tjampawa) Katie Kawiny - Pitjantjara people 2013

The Seven sisters story sparkles with the intensity of the Central Australian night sky. The important Tjukurpa is associated with the hills that surround Katjikuta and the constellations Pleisades and Orion. The sisters are forever moving from the sky, where they live as stars, to the earth where they assume their human forms.

This art is displayed at the National Gallery of Australia

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Wanampi Tjukurpa (Rainbow serpent dreaming).

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Wanampi Tjukurpa (Rainbow serpent dreaming).

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About the artist
Tiger Palpatja was born (possibly 1920) at Nyapaṟi in north-west South Australia, at Piktati and lived off the land. When Tiger was a teenager his family moved to Ernabella, a Presbyterian mission and a sheep station. He worked on the station, got married and remained at Ernabella until 1970, when Tiger and his family moved to Amata. It was not until 2004 that Tiger started to paint at the local art centre, Tjala Arts (renamed in 2000s from Minymaku Arts Centre). He was a finalist in numerous art competitions, unfortunately never winning. Tiger died in 2012

Painting description
Wanampi Tjukurpa is a painting describing the story of the rainbow serpent dreaming. The story about the painting is based on two brothers, who are water snakes and their wives, who are sisters and live at Piltati, west Amata. The women would hunt for food and return at the evenings with their food, to the two men who were lazing-about and preforming ceremonies. The women become angry and refuse to share their food with them. The men become angry and decide to play tricks on the women. The two brothers turn themselves into Wanampi, a giant water serpent and wait at the location that the women were last digging at. The younger sister sees the evidence of the serpent and its tail. She begins to pull upon the tail to pull it out with no luck. After many attempts she gives up and tells her sister of the event. They both decide they will return together the following day to dig the serpent out. The next day they return to the site of the serpent, with their digging sticks and a large timber bowl and begin to dig. They dig for three days with no success. So the women would not  go hungry or lose interest the serpent (Wanampi) provide carpet snakes for the women to eat. Finally the older sister decides to dig ahead of where the serpent is hiding. In the process of doing so, the older sister sees the moving body of the serpent and becomes frightened and throws her digging stick, which lands in the side of the serpent. Both brothers in serpent form eat their wives and the evidence of the event is still present in the landscape. The dug out trench created by the sisters formed the 25 kilometre watercourse between Aparatjara to Piltati, while the death of the older Wanampi and his consumption of his wife is displayed in the appearance of the bloodwood tree.

Location
Wanampi Tjukurpa is one painting of a series of art work completed by Tiger Palpatja. The location of the other piece of art work ,is in building 1 on level C.

References
University of Canberra n.d., Tiger Palpatja Wanampi Tjukurpa, University of Canberra, viewed 11 March 2020, <https://www.canberra.edu.au/about-uc/art-collection/the-art-collection/tiger-palpatja-wanampi-tjukurpa>

University of Canberra n.d., Tiger Palpatja Wanampi Tjukurpa, digital colour photo online, viewed 11 March 2020, <https://www.canberra.edu.au/about-uc/art-collection/the-art-collection/tiger-palpatja-wanampi-tjukurpa>

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Wiradjuri Preschool and Childcare Centre 

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Wiradjuri Preschool and Childcare Centre 

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Wiradjuri Preschool is named after the largest Aboriginal tribe located in Central West, NSW. This is particularly interesting considering the traditional custodians of the Canberra region are the Ngunnawal people yet they have adopted a name from the Wiradjuri nation from an entirely different state.

"We believe Wiradjuri Preschool plays an important role in enacting both symbolic and tangible reconciliation through our ongoing work with our local community. As our close friend and local Elder, Paul Collis, wisely advises, 'Children are our leaders'. We therefore believe that working with young children towards reconciliation in thoughtfully informed and age appropriate ways is some of the most important work we do." (Narragunnawali, June 2019)

Based upon my findings and given that within the centre there is a reconciliation garden and seating place that has often held smoking ceremonies, Wiradjuri Preschool was given the name to give representation and cultural integrity within the University of Canberra to connect and make welcome Indigenous students that have Children.

The Wiradjuri Preschool and Childcare Centre is embedded within the beautiful nature of the Ngunnawal surroundings and the educators make use of enriching that into their curriculum.

REFERENCES:

Narragunnawali, Wiradjuri Preschool and Childcare Centre, n.d., https://www.narragunnawali.org.au/raps/11085/wiradjuri-preschool-and-child-care-centre