Hermannsburg

Hermannsburg Lutheran church, NT

Is an Aboriginal community in the Northern Territory of Australia, 131 km southwest of Alice Springs. It is known in the local Western Arrernte language as Ntaria. Hermannsburg lies within Ljirapinta Ward of MacDonnell Shire in the Southern Region of the Northern Territory. At the 2006 census, Hermannsburg had a population of 559. It was established as an Aboriginal mission in 1877 by two Lutheran missionaries from Germany who had travelled overland from Bethany in the Barossa Valley in South Australia. They named their new mission after Hermannsburg in Germany where they had trained. In 1891, the missionaries left, but the settlement was continued by lay workers until, in 1894, Pastor Carl Strehlow arrived. His son T.G.H. Strehlow became a noted anthropologist and was initiated into Arrernte customs.

Pastor Strehlow learnt the local Western Arrernte language and is credited with translating the Bible into the language. As Strehlow was of German descent, the Western Arrernte written form followed his German pronunciation – which is why the letter/sound relationships make the language easy to read and pronounce for English speakers/readers. Other Arrente languages [Eastern and Central] have been transposed into written form by academic linguists, perhaps explaining their reading difficulty-level, and why the community east of Alice Springs pronounced as “ginger porter” is actually spelled ‘Ltyente Apurte.’ Albert Namatjira was born at Hermannsburg in 1902. He developed the ability to use his acute observation of the land to paint Western-style watercolours. Painting in this style came to be known as the Hermannsburg School of painting. The mission land was handed over to traditional ownership in 1982. The Hermannsburg Historic Precinct was included on the Australian National Heritage List in April 2006. Much of the historic township is now protected by the National Trust.

Albert Namatjira

186 Aboriginal dwellings

(28 July 1902 – 8 August 1959), born Elea Namatjira, was an Australian artist. He was a Western Arrernte man, an Indigenous Australian of the Western MacDonnell Ranges area. Albert Namatjira is perhaps Australia‘s best known Aboriginal painter, with his work forming one of the foundations of contemporary Indigenous Australian art. He is best known for his watercolour Australian outback desert landscapes, a style which inspired the Hermannsburg School of Aboriginal art. While his work is the product of his life and experiences, his paintings are not in the highly symbolic style of traditional Aboriginal art; they are richly detailed depictions. He is also notable for being the first Northern Territory Indigenous Australian to be freed from the restrictions of legislation that made Aborigines wards of the State.

Early life

Born at Hermannsburg Lutheran Mission, near Alice Springs in 1902, Namatjira was raised on the Hermannsburg Mission and baptised after his parents’ adoption of Christianity. He was born as Elea, but once baptised, they changed his name to Albert. After a western style upbringing on the mission, at the age of 13, Namatjira returned to the bush for initiation and was exposed to traditional culture as a member of the Arrernte community (in which he was to eventually become an elder). He obtained the love and respect of his land that is seen in his works. After he returned, he married his wife Rubina at the age of 18. His wife, like his father’s wife, was from the wrong “skin” group and he violated the law of his people by marrying outside the classificatory kinship system.

Albert Namatjira, 1949 Alice Springs.

In 1928 he was ostracised for several years in which he worked as a camel driver and saw much of Central Australia, which he was later to depict in his paintings. Although doing a small amount of rough but non-traditional artwork in his youth, Namatjira was introduced to western style painting through an exhibition by two painters from Melbourne at his mission in 1934. One of these painters, Rex Battarbee, returned to the area in the winter of 1936 to paint the landscape and Namatjira acted as a guide to show him local scenic areas. In return Namatjira was shown how to paint with watercolours, a skill that he quickly excelled at.

The height of success

Namatjira started painting in a distinctly unique style. His landscapes normally highlighted both the rugged geological features of the land in the background, and the distinctive Australian flora in the foreground with very old stately and majestic white gum trees surrounded by twisted scrub. His work had a high quality of illumination showing the gashes of the land and the twists in the trees. His colours were similar to the ochres that his ancestors had used to depict the same landscape, but his style was appreciated by Europeans because it met the aesthetics of western art.

In 1938 his first exhibition was held in Melbourne. Subsequent exhibitions in Sydney and Adelaide also sold out. For ten years Namatjira continued to paint, his works continuing to sell quickly and his popularity continuing to rise. Queen Elizabeth II became one of his more notable fans and he was awarded the Queen’s Coronation medal in 1953 and met her in Canberra in 1954. Not only did his own art become widely recognized, but a painting of him by William Dargie won the Archibald Prize in 1956. He became popular, critically acclaimed and wealthy. He, however, was always glad to return to the outback.

Artworks

Central Australian Landscape 1950s

Namatjira’s artworks were colourful and varied depictions of the Australian landscape. One of his first landscapes from 1936, Central Australian Landscape, shows a land of rolling green hills. Another early work, Ajantzi Waterhole (1937), shows a close up view of a small waterhole, with Namatjira capturing the reflection in the water. The landscape becomes one of contrasting colours, a device that is often used by Western painters, with red hills and green trees in Red Bluff (1938). Central Australian Gorge (1940) shows detailed rendering of rocks and reflections in the water. In Flowering Shrubs Namatjira contrasts the blossoming flowers in the foreground with the more barren desert and cliffs in the background. Namatjira’s love of trees was often described so that his paintings of trees were more portraits than landscapes, which is shown in the portrait of the often depicted ghost gum in Ghost Gum Glen Helen (c.1945-49). Namatjira’s skills at colouring trees can be clearly seen in this portrait.

Namatjira was fully aware of his own talent, as was shown when he was describing another landscape painter to William Dargie. “He does not know how to make the side of a tree which is in the light look the same colour as the side of the tree in shadow…I know how to do better.” Namatjira’s skills kept increasing with experience as is shown in the highly photographic quality of Mt Hermannsburg (1957), painted only two years before he died.

Later life and demise

Namatjira on his way to Alice Springs.

Due to his wealth, Namatjira soon found himself the subject of “humbugging”, a ritualised form of begging. Arrernte are expected to share everything they own, and as Namatjira’s income grew, so did his extended family. At one time he was single-handedly providing for over six hundred people. To ease the burden on his strained resources, Namatjira sought to lease a cattle station to benefit his extended family. Originally granted, the lease was subsequently rejected because the land was part of a returned servicemen’s ballot, and also because he had no ancestral claim on the property. He then tried to build a house in Alice Springs, but was cheated in his land dealings. The land he was sold was on a flood plain and was unsuitable for building. The Minister for Territories, Paul Hasluck, offered him free land in a reserve on the outskirts of Alice Springs, but this was rejected, and Namatjira and his family took up residence in a squalid shanty at Morris Soak—a dry creek bed some distance from Alice Springs. Despite the fact that he was held as one of Australia’s greatest artists, Namatjira was living in poverty. His plight became a media cause celebre, resulting in a wave of public outrage.

Legacy

At the time of his death Namatjira had painted a total of around two thousand paintings and had two short biographical films made about him. His unique style of painting however was denounced soon after his death by some critics as being a product of his assimilation into western culture, rather than his own connection to his subject matter or his natural style. This view has been largely abandoned and Albert Namatjira is hailed as one of the greatest Australian artists and a pioneer for Aboriginal rights. Namatjira’s work is on public display in some of Australia’s major art galleries, with some noteworthy exceptions. The Art Gallery of New South Wales rejected Namatjira’s work. In the words of Hal Missingham, the then Director of the gallery: “We’ll consider his work when it comes up to scratch”.

Namatjira Govt House Sydney

Albert Namatjira is the subject of a song of the same name by the Australian band Not Drowning, Waving, included on their 1993 album, Circus. He is also referenced in Midnight Oil’s song, Truganani; I Am Australian; John Williamson’s Raining on the Rock from his 1986 EMI album Mallee Boy and also The Camel Boy from his 2005 EMI album Chandelier Of Stars and in Archie Roach’s song, Native Born.Slim Dusty was the first recording artist to record a tribute song”Namatjira” in the 1960s,and Rick and Thel Carey followed up with their tribute “The Stairs That Namatjira Climbed”. In 1968 he was honoured on a postage stamp issued by Australia Post [1] and again in 1993 with examples of his work.

Indigenous Australian art

(also known as Australian Aboriginal art) is art made by the Indigenous peoples of Australia. It includes works in a wide range of media including painting on leaves, wood carving, rock carving, sculpture, ceremonial clothing and sandpainting. This article discusses works that pre-date European colonization as well as contemporary art by Aboriginal Australians based on traditional culture. These have been studied in recent decades and have gained increased international recognition.

Traditional Indigenous art

Rock painting

Indigenous art includes a range of styles of rock painting:

• The cross-hatch and X-ray art from the Arnhem Land and Kakadu regions of the Northern Territory, in which the skeletons and viscera of the animals and humans portrayed are drawn inside the outline, as if by cross section.
• Dot-painting from the Central and Western Deserts through which intricate patterns, totems and stories are created using dots.
• Stencil art, particularly using the motif of a hand print.

Aboriginal hollowed log coffin

A particular type of Aboriginal painting, known as the Bradshaws, appears on caves in the Kimberley region of Western Australia. They are named after the European pastoralist, Joseph Bradshaw, who first reported them in 1891. To Aboriginal people of the region they are known as Gwion Gwion. Traditional Aboriginal art is composed of organic colours and materials, but modern artists often use synthetic paints when creating aboriginal styles. Aboriginal rock art has been created for a long period of time, with the oldest examples, in West Australia’s Pilbara region, and the Olary district of South Australia, estimated to be up to around 40,000 years old. Rock art gives us descriptive information about social activities, material culture, economy, environmental change, myth and religion. This is an Aboriginal way of showing recognition and wisdom-to be open to the environment.

Bark painting

Bark paintings are now regarded as “Fine Art”, and the finest bark paintings command high prices accordingly on the international art markets. The very best artists are recognized annually in the National Aboriginal & Torres Strait Islander Art Award.

Aerial desert “country” landscapes

From ancient times, Australian aboriginal culture also produced a genre of aerial landscape art, often titled simply “country”. It is a kind of maplike, bird’s-eye view of the desert landscape, and it is often meant to tell a traditional Dreaming story. In the distant past, the common media for such artwork were rock, sand or body painting; but the tradition continues today in the form of paintings on canvas (see section Papunya Tula and “Dot Painting” below).

Rock engravings

Aboriginal rock painting at Namadgi National Park featuring a Kangaroo, Dingoes, Emus, Humans and an Echidna or Turtle

Rock engraving depends on the type of rock being used. Many different methods are used to create rock engravings. There are several different types of Rock art across Australia, the most famous of which is Murujuga in Western Australia, the Sydney Rock Engravings around Sydney in New South Wales, and the Panaramitee rock art in Central Australia. The rock art at Murujuga is said to be the world’s largest collection of petroglyphs and includes images of extinct animals such as Thylacine. Activity prior to the last ice age until colonisation are recorded. The Sydney Rock Art has its own peculiar style, not found elsewhere in Australia, with beautiful carved animals, humans, and symbolism.

Stone arrangements

Stone arrangements in Australia range from the 50m-diameter circles of Victoria, with 1m-high stones firmly embedded in the ground, to the smaller stone arrangements found throughout Australia, such as those near Yirrkala which depict accurate images of the praus used by Macassan Trepang fishermen. See Aboriginal stone arrangements for more details.

Carvings and sculpture

• Carved shells – Riji
• Mimih (or Mimi) small man-like carvings of mythological impish creatures. Mimihs are so frail that they never venture out on windy days lest they be swept away like leaf litter. It is said their necks are so thin a slight breeze might snap their heads off. If approached by men they will run into a rock crevice, if no crevice is there, the rocks themselves will open up and seal behind the Mimih.
• Necklaces and other jewellery, such as those from the Tasmanian Aborigines

Iconography and symbols

The imagery of the Aboriginal culture, as can be seen in many of the sacred sites, rock and cave paintings, used few colours as they were often made from what was available locally. Some colours were mined from ‘ochre pits’, being used for both painting and ceremonies, with ochre also traded between clans and at one time could only be collected by specific men within the clan. Other pigments were made from clay, wood ash or animal blood. There were variations in the symbolic representation of some rock art and paintings, depending on the tribe or region of

Wiradjuri painting of Baiame,ancestor spirit of creation, near Singleton, New South Wales. Note that his arms extend to the two trees either side.

Australia that you belong to, which is still evident today in the modern art work of Aboriginal artists. The dotted motifs of much of today’s Aboriginal modern design work has become the trademark of the contemporary Aboriginal Art movement. Its iconic status developed from a culture stretching back into the history of an ancient land, evolving and weaving into desert dreamtime stories.

Certain symbols within the Aboriginal modern art movement retain the same meaning across regions, although the meaning of the same symbols may change within the context of the whole painting. When viewed in monochrome other symbols can look similar, such as the circles within circles, sometimes depicted on their own, sparsely or in clustered groups. When this symbol is used and depending on the Aboriginal tribe you belong to, it can vary in meaning from campfire, tree, hill, digging hole, waterhole or spring. Use of the symbol can be clarified further by the use of colour, such as water being depicted in blue or black. Many paintings by Aboriginal artists, such as those that represent a ‘dreamtime story’, are shown from an aerial perspective. The narrative follows the lie of the land, as created by ancestral beings in their journey or during creation. The modern day rendition is a reinterpretation of songs, ceremonies, rock art and body art that was the norm for many thousands of years.

Whatever the meaning, interpretations of the icons should be taken in context of the entire painting, the region from which the artist originates, the story behind the painting, the style of the painting, with additional clues being the colours used in some of the more modern works, such as blue circles signifying water.(Source: Aboriginal Symbols – Indigenous Australia).

Religious and cultural aspects of Aboriginal art

Ochre Pits in central Australia where a variety of clay earth pigments were obtained.

Traditional Aboriginal art almost always has a mythological undertone relating to the Dreamtime of Australian Aborigines. Many modern purists will say if it does not contain the spirituality of Aborigines, it is not true Aboriginal art. Wenten Rubuntja, an Aboriginal landscape artist says it’s hard to find any art that is devoid of spiritual meaning; “Doesn’t matter what sort of painting we do in this country, it still belongs to the people, all the people. This is worship, work, culture. It’s all Dreaming. There are two ways of painting. Both ways are important, because that’s culture.” – source The Weekend Australian Magazine, April 2002. Story telling and totem representation feature prominently in all forms of Aboriginal artwork. Additionally the female form, particularly the female womb in X-ray style features prominently in some famous sites in Arnhem Land.

Graffiti and other destructive influences

Many culturally significant sites of Aboriginal rock paintings have been gradually desecrated and destroyed by encroachment of early settlers and modern-day visitors. This includes the destruction of art by clearing and construction work, erosion caused by excessive touching of sites, and graffiti. Many sites now belonging to National Parks have to be strictly monitored by rangers, or closed off to the public permanently. Also recently there have been animals which have gathered some of the rocks to use in nests.

Contemporary Indigenous art

Modern Aboriginal artists

Aboriginal art at Uluru

In 1934 Australian painter Rex Batterbee taught Aboriginal artist Albert Namatjira western style watercolour landscape painting, along with other Aboriginal artists at the Hermannsburg mission in the Northern Territory. It became a popular style, known as the Hermannsburg School, and sold out when the paintings were exhibited in Melbourne, Adelaide and other Australian cities. Namatjira became the first Aboriginal Australian citizen, as a result of his fame and popularity with these watercolour paintings. In 1966, one of David Malangi’s designs was produced on the Australian one dollar note, originally without his knowledge. The subsequent payment to him by the Reserve Bank marked the first case of Aboriginal copyright in Australian copyright law.

In 1988 an Aboriginal and Torres Strait Islander memorial was unveiled at the National Gallery of Australia in Canberra made from 200 hollow log coffins, which are similar to the type used for mortuary ceremonies in Arnhem Land. It was made for the bicentenary of Australia’s colonisation, and is in remembrance of Aboriginal people who had died protecting their land during conflict with settlers. It was created by 43 artists from Ramingining and communities nearby. The path running through the middle of it represents the Glyde River. In that same year, the new Parliament House in Canberra opened with a forecourt featuring a design by Michael Nelson Tjakamarra, laid as a mosaic.

The late Rover Thomas is another well known modern Australian Aboriginal artist. Born in Western Australia, he represented Australia in the Venice Biennale of 1991. He knew and encouraged other now well-known artists to paint, including Queenie McKenzie from the East Kimberley / Warmun region, as well as having a strong influence on the works of Paddy Bedford and Freddy Timms. In the late 1980s and early 1990s, the work of Emily Kngwarreye became very popular. Although she had been involved in craftwork for most of her life, it was only when she was in her 80s that she was recognised as a painter. She was from the Utopia community north east of Alice Springs. Kngwarreye painted for only a few years near the end of her life. Her styles, which changed every year, have been seen as a mixture of traditional Aboriginal and contemporary Australian. Her rise in popularity has prefigured that of many Indigenous artists from central, northern and western Australia, such as Kngwarreye’s niece Kathleen Petyarre, Minnie Pwerle, Dorothy Napangardi, Jeannie Petyarre ( Pitjara ) and dozens of others, all of whose works have become highly sought-after. The popularity of these often elderly artists, and the resulting pressure placed upon them and their health, has become such an issue that some art centers have stopped selling these artists’ paintings online, instead placing prospective clients on a waiting list for work.

Despite concerns about supply and demand for paintings, the remoteness of many of the artists, and the poverty and health issues experienced in the communities, there are widespread estimates of an industry worth close to half a billion dollars (Aus) and growing rapidly.

Papunya Tula and “dot painting”

In 1971–1972, art teacher Geoffrey Bardon encouraged Aboriginal people in Papunya, north west of Alice Springs to put their Dreamings onto canvas. These stories had previously been drawn on the desert sand, and were now given a more permanent form. The dots were used to cover secret-sacred ceremonies. Originally, the Tula artists succeeded in forming their own company with an Aboriginal Name, Papunya Tula Artists Pty Ltd, however a time of disillusionment followed as artists were criticised by their peers for having revealed too much of their sacred heritage. Secret designs restricted to a ritual context were now in the market place, made visible to Australian Aboriginal painting. Much of the Aboriginal art on display in tourist shops traces back to this style developed at Papunya. The most famous of the artists to come

Aboriginal art showing Barramundi fish

from this movement was Clifford Possum Tjapaltjarri. Also from this movement is Johnny Warangkula, whose Water Dreaming at Kalipinya twice sold at a record price, the second time being $486,500 in 2000. The Papunya Collection at the National Museum of Australia contains over 200 artefacts and paintings, including examples of 1970s dot paintings.

Issues

There have been cases of some exploitative dealers (known as carpetbaggers) that have sought to profit from the success of the Aboriginal art movements. Since Geoffrey Bardon’s time and in the early years of the Papunya movement, there has been concerns about the exploitation of the largely illiterate and non-English speaking artists. One of the main reasons the Yuendumu movement was established, and later flourished, was due to the feeling of exploitation amongst artists:

“Many of the artists who played crucial roles in the founding of the art centre were aware of the increasing interest in Aboriginal art during the 1970s and had watched with concern and curiosity the developments of the art movement at Papunya amongst people to whom they were closely related. There was also a growing private market for Aboriginal art in Alice Springs. Artists’ experiences of the private market were marked by feelings of frustration and a sense of disempowerment when buyers refused to pay prices which reflected the value of the Jukurrpa or showed little interest in understanding the story. The establishment of Warlukurlangu was one way of ensuring the artists had some control over the purchase and distribution of their paintings.” (Source: Warlukurlangu Artists).

Other cases of exploitation include:

• painting for a lemon (car): “Artists have come to me and pulled out photos of cars with mobile phone numbers on the back. They’re asked to paint 10-15 canvasses in exchange for a car. When the ‘Toyotas’ materalise, they often arrive with a flat tyre, no spares, no jack, no fuel.” (Coslovich 2003)
• preying on a sick artist: “Even coming to town for medical treatment, such as dialysis, can make an artist easy prey for dealers wanting to make a quick profit who congregate in Alice Springs” (op.cit.)
• pursuing a famous artist: “The late (great) Emily Kngwarreye…was relentlessly pursued by carpetbaggers towards the end of her career and produced a large but inconsistent body of work.” According to Sotheby’s “We take about one in every 20 paintings of hers, and with those we look for provenance we can be 100% sure of.” (op.cit.)

In March 2006, the ABC reported art fraud had hit the Western Australian Aboriginal Art movements. Allegations were made of sweatshop-like conditions, fake works by English backpackers, overpricing and artists posing for photographs for artwork that was not theirs. A detective on the case said:

“People are clearly taking advantage…Especially the elderly people. I mean, these are people that, they’re not educated; they haven’t had a lot of contact with white people. They’ve got no real basic understanding, you know, of the law and even business law. Obviously they’ve got no real business sense. A dollar doesn’t really have much of a meaning to them, and I think to treat anybody like that is just… it’s just not on in this country.”Call for ACCC to investigate Aboriginal Art industry, ABC PM, 15 March.

Australian Senate Inquiry

In August 2006, following concerns raised about unethical practices in the Indigneous art sector, the Australian Senate initiated an inquiry into issues in the sector. The inquiry was conducted over ten months, and held public hearings in Western Australia, the Northern Territory, Sydney and Canberra. In February 2007, the Senate inquiry heard from the Northern Territory Art Minister, Marion Scrymgour, that backpackers were often the artists of Aboriginal art being sold in tourist shops around Australia. Of particular concern was the art on didgeridoos:

“The material they call Aboriginal art is almost exclusively the work of fakers, forgers and fraudsters. Their work hides behind false descriptions and dubious designs. The overwhelming majority of the ones you see in shops throughout the country, not to mention Darling, are fakes, pure and simple. There is some anecdotal evidence here in Darwin at least, they have been painted by backpackers working on industrial scale wood production.”Sydney Morning Herald (2007) Backpackers fake Aboriginal art, Senate told.

The inquiry’s final report, handed down on 21 June 2007, made 29 recommendations, including:

• greater public funding for infrastructure in the sector
• more intensive policing efforts to try and eliminate unethical business practices
• adoption of a code of practice across the sector
• government agencies and collecting institutions to implement a code when dealing with Indigenous visual art

The report also raised the prospect of law reforms if necessary to change the way the industry was regulated.

Aboriginal art movements and cooperatives

Picture of Albert Namatjira at the Albert Namatjira Gallery, Alice Springs Cultural Precinct, in 2007.

Australian Indigenous art movements and cooperatives have been central to the emergence of Indigenous Australian art. Whereas many western artists pursue formal training and work as individuals, most contemporary Indigenous art is created in community groups and art centres. Many of the centres operate online art galleries where local and international visitors can purchase works directly from the communities without the need of going through an intermediary. The cooperatives reflect the diversity of art across indigenous Australia from the north west region where ochre is significantly used; to the tropical north where the use of cross-hatching prevails; to the Papunya style of art from the central desert cooperatives. Art is increasingly becoming a significant source of income and livelihood for some of these communities.

Aboriginal art in international museums

The Museum for Australian Aboriginal art “La grange” (at Neuchâtel, Switzerland) is one of the very few museums in Europe that dedicates itself entirely to this kind of art. During seasonal exhibitions, works of art by internationally renowned artists are being shown in an enchanting décor. Also, The musée du quai Branly, Paris, has an “Oceania” collection, which includes works by Australian Aboriginal artists Lena Nyadbi, Paddy Nyunkuny Bedford, Judy Watson, Gulumbu Yunupingu, John Mawurndjul, Tommy Watson, Ningura Napurrula and Michael Riley. There are two museums in the world devoted exclusively to Australian Aboriginal art: the Museum of Contemporary Aboriginal Art located in Utrecht, The Netherlands; and the Kluge-Ruhe Aboriginal Art Collection of the University of Virginia.

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