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Reconciliation Place - A lasting symbol of our shared journey

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					   Reconciliation Place
                                    A lasting symbol of our shared journey




                                               Reconciliation is primarily a people’s movement
                                               and will continue to evolve in the day-to-day life
                                                                      of Australian communites.




  VISITORS TO RECONCILIATION PLACE SHOULD BE AWARE THAT NAMES MAY BE MENTIONED, OR IMAGES
PORTRAYED, OF PEOPLE WHO ARE NOW DECEASED. ANY DISTRESS THIS MAY CAUSE IS SINCERELY REGRETTED.
                                                 LAKE BURLEY GRIFFIN




                                                                                    COMMONWEALTH
                                                                                       PLACE




     To the National Library of Australia



                                                                       .5                                 Grass
                                                                                        .7
                                                                                                         Mound
                   .1
                                      .2                    .4                 .6
                                                  .3



                                            Reconciliation Place Western Promenade
                                                         for Eastern Promenade refer inside back cover



1. fire and water
2. Methalu Tharri (Smooth Sailing)
3. Separation
4. Separation
5. Kwi’ith, Man and Woman Yam
                                                                            QUESTACON
6. Strength, Service and Sacrifice
7. Ngunnawal
8. Leadership
9. Referendum
10. Women
11. Ruby Florence Hammond
12. Robert Lee
13. Wenten Rubuntja
14. Land Rights                                                                                            N
15. Bill Neidjie
16. Gatjil Djerrkura
Reconciliation Place
 A place which recognises the importance of
 understanding the shared history of Indigenous
 and non-Indigenous Australians, and which
 reaffirms our commitment to Reconciliation as
 an important national priority.
The location of Reconciliation Place in the Parliamentary
Zone places the Reconciliation process physically and
symbolically at the heart of Australia's democratic life
and institutions. It signifies the importance the Australian
people place on the ongoing process of Reconciliation
and is a prominent symbol of the nation's commitment
to healing the wounds of the past.

Reconciliation Place provides an                 A series of public artworks (also known
opportunity to represent a shared history        as slivers) create pathways through
from the perspective of the original owners      Reconciliation Place, enabling individual
and those who came later: artworks about         interpretation and understanding of our
achievements, partnerships, of connection        shared journey towards Reconciliation.
to the land and waters, and of belonging.        Others will be added over time.

The design of Reconciliation Place               Together the mound, pathways
is simple, appropriately scaled and              and artworks of Reconciliation Place
strong. A central circular mound rises           offer Australians an opportunity to
effortlessly, emerging from the enclosure        understand more about Reconciliation
of the paved promenade — new                     and their own place in that journey.
horizons are revealed to the visitor.
                                                 Reconciliation Place is constructed on the
The mound is outward looking, each               traditional land of the Ngunnawal people.
position providing an individual
perspective. Pathways link Reconciliation
Place to Commonwealth Place, national
institutions and Lake Burley Griffin.




The winning design for Reconciliation Place was submitted by the team of Simon
Kringas (Canberra Architect), Sharon Payne (Aboriginal Cultural Adviser), Alan Vogt
(Exhibition Design Consultant) and Amy Leenders, Agi Calka and Cath Elliot (Architectural
assistants). The design included the addition of artworks (slivers), over time as a symbol of
Reconciliation as a process not a product.
                                                                                 Artwork 1
JUDY WATSON'S ARTWORK is a sensory                  congregation of Bogong moths flying
journey which begins at the hearthstone,            in on their annual migration to the high
passes between the bower, to listen to              country and the gathering of people
the sounds of the gathering stone, and              coming together to feast on them.
continues among the sinuous lines of reeds
                                                    The sides of the bower bend-in towards
toward the misting pool, where fine sprays
                                                    each other in a gesture of Reconciliation.
of cooling water cleanse and refresh.
                                                    The weathered steel elements form a
The hearthstone recalls the large flat              listening, sheltering space.
Yuriarra Moth Stone upon which fires were
                                                    A misting element, suggesting a spring
lit. When the surface was hot enough,
                                                    or campfire and located at the eastern
Bogong moths were cooked upon it.
                                                    end of the work, is connected to the
The sound emanating from the                        bower by a lomandra grass planting
gathering stone increases and decreases             reflecting the Australian landscape.
in intensity, suggesting both the




                                                         fire and water


                              Artist: Judy Watson
       Aboriginal Cultural Advisor: Matilda House
                  Sound Design: Michael Hewes
Artwork 2
   VIC MCGRATH'S ARTWORK takes
   its inspiration from the sails and mast
   of a traditional Torres Strait Islands
   canoe just landed on a beach. It reflects
   the idea that all Australians share their
   experiences under the same stars.
   Represented on the first sail is the
   constellation of Tagai, a mythical hero
   who stands in a canoe; his left hand,
   the Southern Cross, holds a fish spear.
   The stars of Tagai usher in seasonal
   changes, and are a guide to voyaging and
   cultivating throughout the Torres Strait.
   The constellation on the sail is created
   from inlaid, hand-carved pearl shell.
   The design on the second sail recalls
   the traditional craft of creating fretted
   pearl shells. At the centre of this
   pattern is a noon-marker – a simple
   sundial device that tracks the noonday
   sun throughout the year.


     Methalu Tharri (Smooth Sailing)
                                                                              Artist: Vic McGrath
                                               Torres Strait Island Cultural Advisor: Joseph Elu
                                                                        Architect: Kevin O'Brien
                                                            Graphic Design: Jennifer Marchant
            Separation
Many thousands of Aboriginal and Torres Strait Islander children
were removed from their families, with the authorisation of
Australian governments, to be raised in institutions, or fostered
or adopted by non-Indigenous families. Some were given up by
parents seeking a better life for their children. Many were forcibly
removed and see themselves as 'the stolen generations'.
Many of these children experienced overwhelming grief, and the
loss of childhood and innocence, family and family relationships,
identity, language and culture, country and spirituality.
Artwork 3
   THIS ARTWORK is constructed from
   stainless steel and slumped glass, and
   features an image of the boy in the
   bungalow. Housed within the artwork is an
   empty coolamon — a traditional vessel for
   carrying a baby — from which a recorded
   Indigenous lullaby can be heard. It is a place
   for quiet reflection — to contemplate the
   silence and emptiness experienced after
   children are taken from community.

   To symbolise the reconnection with culture,
   words meaning baby, child or children
   from a number of Indigenous languages of
   Australia are etched into the glass panels.




                                                                   Separation
             Aboriginal Cultural Advisor: Sharon Payne                 IMAGES (BY PERMISSION OF)
                              Architect: Simon Kringas         Aerial of spinifex: Richard Woldendorp;
      Exhibition Designers: Marcus Bree, Benita Tunks      Boy at the Bungalow: National Archives of
                          Graphic Designer: Alan Vogt    Australia 1930/1542 Coolamon: Karen Casey
                                                                 Homes are sought for these children:
                                                          National Archives of Australia A1,1934/6800
                                                                      Methodist girls at the Bungalow:
                                                                     National Trust (Northern Territory)
                                                                       Mission school, Bathurst Island:
                                                              National Archives of Australia A263;27a
                                                                    School fife band at the Bungalow:
                                                                     National Trust (Northern Territory)
                                                              Three aboriginal children in bath playing
                                                                          in the water: Merle Jackomos
                                                           Water, Sand Pattern: Richard Woldendorp

                                                                                                AUDIO
                                                         Inanay (lullaby): Lou Bennett (mother's voice)
                                                                     and Pep Gascoigne (child's voice)
                                                                           Tim Cole (sound production)
                                                                            Artwork 4
THIS ARTWORK is inspired by the              Behind the steel panel is a movement-
landscape of central Australia and is made   activated speaker from which the song
of red oxide concrete. On the northern       ‘Took the Children Away’, written and
side of the artwork small holes have been    sung by Archie Roach, can be heard.
drilled forming the shape of Australia.
The holes provide an opportunity for
people to leave messages recording
their experience or thoughts on the
issue of the separation of children.

Words describing aspects of the experience
are also incorporated. These appear in the
form of direct quotes from those who were
taken, their carers and others involved.




                                                          Separation
                                                  Design Architects: Graham Scott-Bohanna,
                                                                               Andrew Smith
                                                    Designer of Fountain Base: Karen Casey
                                                                Graphic Designer: Cate Riley;
                                                                       Sculptor: Darryl Cowie

                                                              IMAGES (BY PERMISSION OF)
                                                  Letter from William Bray to the Protector of
                                                      Aborigines: courtesy of the Bray family,
                                                   and National Archives of Australia Darwin:
                                                                           CRS F126 Item 33

                                                                                    AUDIO
                                             Took the Children Away: Archie Roach, courtesy
                                                    of Festival Mushroom Records Pty Ltd &
                                                        Mushroom Music Publishing Pty Ltd
Artwork 5
   THANAKUPI'S ARTWORK is a response
   to the theme of Indigenous art within the
   context of Reconciliation. It explores the
   simple yet powerful themes pivotal to the
   idea of Reconciliation: communication,
   sharing and a sense of harmony between
   all people. The long yam and the cheeky
   yam featured in the work represent man
   and woman respectively.

   The bronze sculpture textures refer to the
   form and quality of the yams themselves,
   and provides a surface that encourages
   visitors to touch and engage with the
   sculptures.

   The words on the plinth – evocative of
   the Reconciliation experience – refer to
   the traditional practice of story-telling by
   inscribing marks and images into the sand
   on the ground.




      Kwi'ith, Man and Woman Yam
                                                  Artist: Thanakupi (Thancoupie Gloria Fletcher)
                                                              Assistant Sculptor: Jerko Starcevic
                                                                                                       Artwork 6
THE QUALITIES of strength, service and
sacrifice fire the human spirit. Indigenous
people within the armed forces represent
these qualities. The first commissioned
Indigenous officer, Captain Reg Saunders,
nurse Kath Walker (Oodgeroo Noonuccal)
and Torres Strait Islander soldier Sedo
Gebade are depicted on this artwork. All
saw active service. The other side of the
artwork recognises sport and recreation, a
common meeting ground for Indigenous
and non-Indigenous Australians. Included
are images of the first Australian cricket
team to tour England (1868), Tiwi footballers
taking a mark, children playing cricket
and Cathy Freeman (Australian gold
medallist) lighting the Olympic cauldron
at the Sydney 2000 Olympics. The rich
colours of the Australian landscape at
sunset act as a backdrop for the images,
signifying land as the unifying element for
all Australian endeavour and sacrifice.


  Strength, Service and Sacrifice
Architect: Simon Kringas                          IMAGES (BY PERMISSION OF)
Aboriginal Cultural Advisor: Sharon Payne         Aboriginal cricket team that toured England
Exhibition Designers: Marcus Bree, Benita Tunks   (1868): National Library of Australia
Graphic Designer: Alan Vogt                       Captain Reg Saunders (Soldier): Glenda Humes
                                                  Children playing cricket: Colin and Paul Tatz
                                                  Lighting of the cauldron: Jamie Squire (All Sport)
                                                  Nurse, Kath Walker (Oodgeroo Noonuccal):
                                                  Patty Walker
                                                  Sedo Gebade (Morotai 1945):
                                                  Australian War Memorial
                                                  Soldiers (Wangaratta 1940):
                                                  Australian War Memorial
                                                  Sunset: Marcus Bree
                                                  Tiwi Island footballers taking a mark:
                                                  Colin and Paul Tatz
Artwork 7
   ‘NGUNNA YERRABI YANGGU’ meaning
   ‘(you may) walk on this country now’ is a
   traditional welcome to Ngunnawal country.
   This artwork features a stone from a local
   Canberra quarry alongside a slumped glass
   panel, depicting the migratory patterns
   of the Bogong moth overlayed on a map
   of Australia. The moth represents the
   Bogong time, when different language
   groups gathered in this area to feast on the
   plentiful supply of Bogongs. This annual
   event also enabled exchange between
   the various clans to carry out initiation
   ceremonies, reconcile differences and
   settle disputes. The image of the Wedgetail
   eagle etched on this artwork signifies the
   high country of the Ngunnawal people.




                                                              Ngunnawal
                                                                           Architect: Simon Kringas
                                                          Aboriginal Cultural Advisor: Sharon Payne
                                                  Exhibition Designers: Marcus Bree, Benita Tunks
                                                                       Graphic Designer: Alan Vogt

                                                                  IMAGES (BY PERMISSION OF)
                                                            Australian Landsat mosaic: Geoimage
                                                                 Bogong moths: Marianne Walsh
                                                                  Bogong moths: Jimmy Williams
                                                                 Wedgetail eagle: Brendan Tunks
                                                                                                 Artwork 8
Leadership
TO CELEBRATE INDIGENOUS                      Aboriginal Cultural Advisor: Sharon Payne
                                             Architect: Paul Barnett
LEADERSHIP, this artwork focuses on two
                                             Concept Designers: Marcus Bree, Benita Tunks
Aboriginal men. Neville Bonner, a Jagera     Final Designer: Benita Tunks
man, fought for his people ‘within the       Graphic Designer: Alan Vogt
system’, and became the first Indigenous     IMAGES (BY PERMISSION OF)
Senator in the Australian Parliament         A Gurindji Man
(1971). Vincent Lingiari, a Gurindji man,    Gurindji Men: Brian Manning
                                             Tree at Daguragu: Sharon Payne
led his people in a walk-off at Wave
                                             Vincent Lingiari: courtesy of AIATSIS Audiovisual
Hill Station in the Northern Territory       Archives Program
in 1966 which began the Aboriginal           Vincent Lingiari and Donald Nangiari:
                                             National Archives of Australia A1200, L96542
land rights movement in Australia.
                                             Vincent Lingiari and Gough Whitlam:
                                             Mervyn G. Bishop, 1975 Licensed by VISCOPY,
The southern face of the artwork features
                                             Sydney 2004
an artist's representation of a carpet
                                             A JAGERA MAN
snake (Neville Bonner's totem) burnt         Neville Bonner: The Courier Mail Newspaper
into a redgum timber surface behind          Snake Totem: Charlie Chambers Jnr
Bonner's image. The northern faces           WAVE HILL
feature a timeline with images depicting     Davis Daniels, Lupgna Giari (Captain Major),
                                             Brian Manning, Robert Tudawali: Brian Manning
significant events during the fifteen-year
                                             Dexter Daniels, Donald Nangiari, Pincher
campaign for recognition of land rights.     Numiari, Mick Rangiari: Northern Territory
                                             Government Collection, Northern Territory
The lower image on the north-eastern side    Library
was derived from the Gurindji Freedom        Frank Hardy: Frank Hardy Collection, National
                                             Library of Australia
Banner, a tapestry created by Gurindji
                                             Wagon Joe, Jimmy Muniari, Victor Vincent:
women depicting the Wave Hill walk-off.      Missions Publications of Australia collection,
                                             courtesy of AIATSIS, Audiovisual Archives
The featured song, ‘From Little              Program
Things Big Things Grow’, by Paul Kelly       Vincent Lingiari: National Archives of Australia
                                             A8598, AK6/5/80/16
and Kev Carmody, tells the story of
                                             'Walk-off' artwork: Joanna Barrkman, Chips
Wave Hill and Vincent Lingiari.              Mackinolty and members of the Gurindji
                                             Community
                                             Windmill: Geoff Higgins

                                             AUDIO
                                             From Little Things Big Things Grow: Kev
                                             Carmody and Paul Kelly, courtesy of Larrikin
                                             Music Publishing Pty Ltd, Universal Music
                                             Publishing Pty Ltd and Song Cycles Pty Ltd

                                             PHOTO
                                             Vincent Lingiari's Grandson, Victor Lingiari
Artwork 9
   AT THE 1967 REFERENDUM, 90.77% of                 images illustrate the events which led to
   Australian voters said ‘Yes’ to the Australian    the referendum, including the Official Day
   Government making laws specifically               of Mourning in 1938, and the delegates
   relating to Indigenous Australians, and for       attending the Federal Council for
   the inclusion of Indigenous Australians in        Advancement of the Aborigines and Torres
   the national census. This empowered the           Strait Islanders.
   Commonwealth to override discriminatory
   State legislation and to enact special
   laws and programmes for Indigenous
   Australians. This artwork incorporates
   extracts from the referendum documents
   and the Australian Constitution. Archival




                                                              Referendum
   Architect: Simon Kringas                          IMAGES (BY PERMISSION OF)
   Aboriginal Cultural Advisor: Sharon Payne         Australian Aborigines Conference:
   Exhibition Designers: Marcus Bree, Benita Tunks   Lorna Lippmann
   Graphic Designer: Alan Vogt                       Day of Mourning: Australian Institute of
                                                     Aboriginal and Torres Strait Islander Studies
                                                     Delegates FCAATSI: Merle Jackomos
                                                     Faith Bandler and Jack Horner: Faith Bandler
                                                     Gordon Bryant: Faith Bandler
                                                     Jean and Jack Horner: Canberra Times
                                                     Jessie Street: National Library of Australia
                                                     Joe McGuinness and friends: Faith Bandler
                                                     Sir Doug Nicholls and Kath Walker (Oodgeroo
                                                     Noonuccal): Faith Bandler
                                                     Stan Davey and Riley Young: Debbie Rose
                                                     Rights Wrongs, Write Yes poster: Australian
                                                     Institute of Aboriginal and Torres Strait
                                                     Islander Studies
  Women Artwork
Three cast bronze slivers create the focus of the Women Artwork.
The concave etched copper surface of each sliver presents
a biographical sketch of Dr Faith Bandler, Lady Jessie Street
and Dr Evelyn Scott. The artwork serves to remind us of the
determination of these women and their collective contribution to
Reconciliation in Australia, including through their roles in
the 1967 Referendum.
The slivers are arranged to form a contemplative space adjacent
to a circular seat, which incorporates an audio feature comprising
personal reflections by Dr Faith Bandler, Dr Evelyn Scott and
Sir Laurence Street. Two key words and a quotation feature
on the convex side of each sliver, highlighting personal values
or qualities particular to each individual. Incorporated into the
surrounding pavement are additional words embodying qualities
and values considered mutually important to all three women.

Attribution for women artwork
DESIGNERS: Belinda Smith, Rob Tindal GRAPHIC DESIGNER: Jennifer Marchant
IMAGES (BY PERMISSION OF)

DR FAITH BANDLER AM SLIVER
Faith Bandler, Turramurra, 1998: Robert Pearce/ Fairfaxphotos.com: #6111713.
Advertisement published in the Australian, 30 October 1969: Masius, Wynne-Williams (Vic).
Faith Bandler, Women's Land Army, Wamoon, Leeton, NSW: photographer unknown.
Courtesy Faith Bandler.
1967 Referendum celebration, Tranby College, Sydney, 1967: ACP Syndication.
L-R: Harold Blair, Mrs Faith Bandler, Gordon Bryant, Joe McGinness, FCAATSI conference 1971:
Mervyn G. Bishop (photographer). Courtesy AIATSIS, Identity collection #N5718.21.

DR EVELYN SCOTT AO SLIVER
Evelyn Scott: Uri Auerbach. Courtesy Evelyn Scott.
The Council for Aboriginal Reconciliation, Sydney, 1999: Karen Mork.
Evelyn and Allan Scott wedding, Innisfail, 1962: Sydney Balma. Courtesy Evelyn Scott.
Cover, Aboriginal Affairs Monthly, volume 1, number 3, October 1974: Mervyn
G. Bishop. National Archives of Australia: A8739, A24/8/74/36.
Evelyn Scott and daughters, Townsville, 1974: Mervyn G. Bishop. Courtesy Evelyn Scott.

LADY JESSIE STREET SLIVER
Jessie Street Australian passport photo, 1945: Commonwealth of
Australia. National Archives of Australia A6980, S202852.
Handwritten draft petition, 1957: Jessie Street. Papers of Jessie Street,
National Library of Australia Manuscript Collection, MS2683/11/28.
Jessie Street and her family, Yulgilbar Station, Grafton, NSW, 1928: Photographer unknown.
Courtesy the Street family.
Australian delegates, United Nations conference, San Francisco, 1945:
photographer unknown. National Library of Australia: nla.pic-an23236247-V
Jessie Street, Charles Duguid and an elderly Indigenous man (not named),
Point Pearce Mission, 1957: photographer unknown. Papers of Jessie Street,
National Library of Australia Manuscript Collection, MS2683/11/30.

PATTERNING
Dr Faith Bandler AM sliver, Gentle movement, Strong respect
Artist: Jenuarrie
Dr Evelyn Scott AO sliver, Waram (shark)
Artist: Thanakupi (Thancoupie Gloria Fletcher)
Lady Jessie Street sliver, Awelye (body painting)
Artist: Violet Petyarre

AUDIO
Dr Faith Bandler AM sliver: Dr Faith Bandler AM
Dr Evelyn Scott AO sliver: Dr Evelyn Scott AO
Lady Jessie Street sliver: The Honourable Sir Laurence Street, AC, KCMG, QC
                                                                               Artwork 10
           life is about ... getting up ...
         helping each other and doing
      the best we can, to raise people
                      out of their misery
                                  Dr Faith Bandler,
                interview with Robin Hughes, 1993.




                                     Dr Faith Bandler AM
A CO-FOUNDER of the Australian-                       A powerful communicator, ‘filled with
Aboriginal Fellowship (AAF), Faith                    fire to reach a goal’, Bandler has always
Bandler played an important role in the               applied herself with resolve, intelligence
establishment of the national organisation            and compassion to causes desperately
– the Federal Council for the Advancement             in need of society’s attention.
of Aborigines and Torres Strait Islanders
                                                      The artwork patterning was designed
(FCAATSI) – which drew together
                                                      by Jenuarrie, who shares with Faith
Aborigines, Torres Strait Islanders, unions
                                                      Bandler a Pacific Islander heritage.
and other community groups. Bandler
later played a central role in FCAATSI’s
successful campaign leading to the
milestone 1967 Referendum.
Artwork 10
                                                 Until Aborigines enjoy equal rights,
                                                 status and opportunity with other
                                                 Australians, we cannot claim that
                                                 Australia is a country in which all
                                                 people enjoy freedom.
                                                 Lady Jessie Street, Comments on Report from the
                                                 Select Committee of Voting Rights of Aborigines, 1961.




                                           Lady Jessie Street
   AN INTERNATIONALLY respected                  Jessie Street’s life and work remind
   peace campaigner and community                us of the need to embrace both our
   activist, Jessie Street was determined to     common humanity and our differences
   end racist practices affecting Australia’s    in order to affect lasting social change.
   Indigenous peoples. With Faith Bandler,
                                                 The artwork patterning was designed by
   she played a vital role in establishing the
                                                 Violet Petyarre, who, like Jessie
   Federal Council for the Advancement
                                                 Street, is a community leader.
   of Aborigines and Torres Strait Islanders
   (FCAATSI) and, in 1957, drafted a
   petition that inspired a crucial ten-
   year national campaign, culminating
   in the historic 1967 Referendum.
                                                                                Artwork 10
 Reconciliation is not an isolated event
     but part of the fabric of this nation
       ... We extend our hand to other
    Australians. Those Australians who
 take our hands are those that dare to
   dream of an Australia that could be
                                    Dr Evelyn Scott,
          Welcome Address at Corroboree 2000, 2000.




                                          Dr Evelyn Scott AO
FOR MUCH OF HER LIFE, Evelyn Scott                     community and government positions, she
has been a tireless advocate of social                 was Chairperson of the Council for Aboriginal
justice for Indigenous peoples across                  Reconciliation between 1997 and 2000.
Australia. Scott has devoted herself to the
                                                       The artwork patterning was designed by
cause of Reconciliation, believing that
                                                       Thanakupi (Thancoupie Gloria Fletcher),
‘true Reconciliation is critical for this nation
                                                       a personal friend of Evelyn Scott.
if it is to go into the future as a mature,
harmonious society at peace with itself’.

Scott was actively involved in the Federal
Council for the Advancement of Aborigines
and Torres Strait Islanders (FCAATSI) and
the landmark ‘yes’ campaign for the 1967
Referendum. After serving in a variety of
       Stone Artwork
These stone artworks celebrate the resilience and achievements
of eminent Indigenous Australians who have made personal
contributions to Reconciliation and, more broadly, to Australian
life - through their selfless dedication to the advancement of
Indigenous Australians and building bridges with the wider
Australian community. Each artwork features an inspirational
quotation about Reconciliation as well as an illustrative carving
linked with the person quoted.


Attribution for stone artwork
DESIGNERS: Andrew Smith, Benita Tunks, Rob Tindal STONEMASONS: Tim Hodge, Malcolm Johnson
                                                                         Artwork 11
                                             Aboriginal Dreaming sings to us
                                             of living in harmony with the land
                                             and with each other
                                             Margaret Forte, Flight of an Eagle –
                                             The Dreaming of Ruby Hammond, 1995.




Ruby Florence Hammond PSM

THE NGARRINDJERI PEOPLE                      was well-known for singing the song
of Murrundi (the Lower Murray River)         about the sun, the moon and the stars,
believe the Ponde (the Murray Cod) is a      by her family and many other groups. It is
significant aspect of their dreaming. Ruby   a song about where we all come from.
Hammond, a descendant of Ngarrinderi
                                             The artwork has been designed
and Western Arrente, worked tirelessly
                                             by ‘Munnari’ John Hammond,
with Aboriginal and non-Aboriginal
                                             Ruby Hammond’s son.
people striving towards understanding
and equity for all Australians. Hammond
Artwork 12
     Take the responsibility and share parts
      of your country and our living cultures
       in a good way with fellow Australians
                   and the rest ofthe world.
           Robert Lee, For our children's children: Nitmiluk and
                  economic independence, from a speech given
   at the Indigenous Economic Development Conference, 2003.




                                                                               Robert Lee
                                                                   THE RAINBOW SERPENT is the symbol of
                                                                   Jawoyn and Nitmiluk National Park. It was
                                                                   selected by the Lee family as it portrays the
                                                                   spiritual connection of the late Robert Lee
                                                                   to his land. The image depicts Bolung, the
                                                                   Rainbow Serpent; Nitnit, the cicada; fresh
                                                                   mussels, fish and rocks. Featured wearing a
                                                                   ceremonial headdress, Bolung is associated
                                                                   with the wet season and waterholes. He
                                                                   is not only an important life-giving figure,
                                                                   but may also act as a destroyer. Bolung
                                                                   lives in the deep pools of the second
                                                                   gorge. When fishing, the Jawoyn take
                                                                   only a small portion of their catch and
                                                                   throw the rest back to appease Bolung.

                                                                   The artist was Alice Mitchell Marrakorlorlo,
                                                                   a traditional owner of Nitmiluk.
                                                                              Artwork 13
                 ... all of us have to live
        together, look after each other,
                      share this country.
                Wenten Rubuntja with Jenny Green,
           The Town Grew Up Dancing: The Life and
                     Art of Wenten Rubuntja, 2002.




                                Wenten Rubuntja AM
THE YERRAMPE DREAMING was passed                     man), artwe yerrampe (honey ant
down to Wenten Rubuntja from his great               man) and arntetherrke (carpet snake
grandfather and his father’s uncle.                  man), who are attracted to the women
                                                     and so paint themselves and sing
The artwork depicts a segment from a
                                                     songs with piripe (music sticks) and
larger painting of the Mparntwe (Arrente
                                                     call on totemic animals to help.
word for Alice Springs) Dreaming.
The artist was Wenten Rubuntja and                   But the women are not interested and
the image was developed by his son,                  threaten to ‘sing them’ and make them
Mervyn Rubuntja, and Benita Tunks.                   sick with their superior sacred powers
                                                     unless the men leave the women alone.
Represented are two ayeparenye
(caterpillar) women and two yerrampe                 The dotted lines are the honey ant
(honey ant) women. There are also                    tracks leading to Aleyape, the honey
three men – artwe atnyentye (moon                    ant nests in the centre of the image.
Artwork 14
   THIS ARTWORK incorporates extracts             Australian landscapes by Indigenous
   from seminal legal cases on land rights.       artist Karen Casey. A thumbprint etched
   Terra Nullius (no one’s land) and Terra        into the stainless steel symbolises the
   Aborigium (Aboriginal land) represent the      custodial role of Indigenous Australians.
   position of native title in Australia before   On the other side of the artwork are the
   and after the High Court decision in Mabo      elements of Country – water, earth and life.
   v Queensland (No.2) (1992). Etched onto
   glass a map of Meriam Mer (Murray Island
   – located in the Torres Strait), overlays
   an image of three plaintiffs in that case:
   Edward Koiki Mabo, Reverend David Passi
   and James Rice, and one of their counsel,
   Bryan Keon-Cohen. Recessed within the
   artwork is a representation of varying




                                                            Land Rights
                                                  Architect: Simon Kringas
                                                  Aboriginal Cultural Advisor: Sharon Payne
                                                  Exhibition Designers: Marcus Bree, Benita Tunks
                                                  Graphic Designer: Alan Vogt

                                                  IMAGES (BY PERMISSION OF)
                                                  Aerial of rivers: Richard Woldendorp
                                                  Landscape: Karen Casey
                                                  Murray Islander plaintiffs: Trevor Graham
                                                  Murray Island and map: Haddon Collection
                                                  River: Richard Woldendorp
                                                  River bed, Spirit figures and Thumbprint:
                                                  Karen Casey

                                                  AUDIO
                                                  Wet to Dry: Rick Rue
                                                                                   Artwork 15
This law ... this country ... this people.
No matter what people ... red, yellow,
      black or white ... the blood is the
same. Lingo little bit different ... but no
  matter. Country - you in other place
          ... But same feeling. Blood ...
                   bone ... all the same.
         Big Bill Neidjie, Stephen Davis and Allan Fox,
           Australia's Kakadu Man - Bill Neidjie, 1986.




                                                          Bill Neidjie OAM
MABUYU was a member of the                                That night, Mabuyu waited until the thieves
Bunitj Clan of which the late Bill                        had eaten his fish and were camped inside
Neidjie was a respected elder.                            their cave. He sealed them in their cave with
                                                          a huge rock. Another mob sent a message
According to the Dreamtime story related
                                                          to his grandmother’s country to tell them
by Jonathan Nadji, there was a warrior
                                                          what had happened. They made a plan to
called Mabuyu who lived in a cave away
                                                          befriend Mabuyu and invited him to their
from his clan group. The other mob
                                                          camp. When he was asleep they sealed him
camped at Indjuwandjuwa near Ubirr
                                                          in a cave at a special site around the Mount
(Obiri Rock), where we find the ancient
                                                          Borradale area in Western Arnhem Land.
rock painting depicting Mabuyu, in the
                                                          Legend has it that Mabuyu is still there.
present-day Kakadu National Park. One day,
the clan went fishing but they did not get                The image of Bill Neidjie’s hand print was
any. Mabuyu also went fishing. He fished                  designed by his son, Jonathan Nadji. The
away from the others and caught many                      spirit warrior figure (Mabuyu) is reproduced
fish. He was dragging his catch on a string               from an ancient rock painting located at
when a greedy person cut the string and                   Ubirr (Obiri Rock), Northern Territory.
stole his fish. This upset him very much.
Artwork 16
      If we want to break away from the
     colonial past, and begin anew, then
                we have to walk together
      – hand in hand and side by side –
              as a truly reconciled nation.
       Gatjil Djerrkura, Speech to launch Mark McKenna's
              This Country: A Reconciled Republic?, 2004.




                                              Gatjil Djerrkura OAM
   THE WÄLATHA or fighting stick, the                       clan to another, about ceremonies and
   totem of the late Gatjil Djerrkura, is the               other significant community events. With
   totem of the Wangurri clan to which he                   the advent of Christianity, the Wälatha
   belonged. Djerrkura inherited his Wangurri               acquired a symbolic meaning denoting
   clan responsibilities from his father but                peace, Reconciliation and friendship.
   modelled his philosophy on his maternal
                                                            The Wälatha image was developed
   grandfather, the warrior chief Wongu,
                                                            by the Djerrkura family.
   whom he saw as strong in his culture but
   open to new ideas. Historically, the Wälatha
   was used by the leaders of the Wangurri
   clan to restore order and to bring peace. It
   was also used to pass messages from one
                                              LAKE BURLEY GRIFFIN




          COMMONWEALTH                                                                             HIGH COURT
             PLACE                                                                                OF AUSTRALIA




                                                                                To the High Court of Australia



Grass                                                                                                             .16
Mound                            .9
                                                       .12                .15
                   .8
                                                                    .14
                                       .10        .11 .13


        Reconciliation Place Eastern Promenade
        for Western Promenade refer inside front cover



                                                                                                  1. fire and water
                                                                                2. Methalu Tharri (Smooth Sailing)
                                                                                                     3. Separation
                                                                                                     4. Separation
                                      NATIONAL PORTRAIT GALLERY
                                                                                 5. Kwi’ith, Man and Woman Yam
                                             OF AUSTRALIA                        6. Strength, Service and Sacrifice
                                                                                                     7. Ngunnawal
                                                                                                     8. Leadership
                                                                                                   9. Referendum
                                                                                                       10. Women
                                                                                    11. Ruby Florence Hammond
                                                                                                   12. Robert Lee
                                                                                             13. Wenten Rubuntja

    N                                                                                             14. Land Rights
                                                                                                    15. Bill Neidjie
                                                                                                16. Gatjil Djerrkura
ON 26 AUGUST 1999 THE AUSTRALIAN PARLIAMENT PASSED A HISTORIC MOTION OF RECONCILIATION, REAFFIRMING A ‘WHOLE HEARTED
  COMMITMENT TO THE CAUSE OF RECONCILIATION BETWEEN INDIGENOUS AND NON-INDIGENOUS AUSTRALIANS AS AN IMPORTANT
                                       NATIONAL PRIORITY FOR ALL AUSTRALIANS’.
                 MOTION OF RECONCILIATION (26 AUGUST 1999), HOUSE OF REPRESENTATIVES, COMMONWEALTH OF AUSTRALIA




                                   AN AUSTRALIAN GOVERNMENT PROJECT

				
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