Emigrate-to-Australia is sharing a series of articles on the delights of Australia’s Heritage. Here is our 4th Update!

In our next article on the cultural treasures to greet you when you visit or migrate to Australia, we look at some indigenous art. Australia’s local art is a rich cultural tapestry woven by its First Nations people, and nowhere is this more evident than in the diverse array of Indigenous sculptures and carvings that tell the stories of the land’s ancient history. From the captivating ‘Fruit Bats’ sculpture by Lin Onus to the hauntingly beautiful Pukamani funeral poles of the Tiwi people, these artistic expressions offer a glimpse into the spiritual and cultural significance of Australia’s Aboriginal communities.

The ‘Fruit Bats’ sculpture, with its unique incorporation of the iconic Hills Hoist clothesline, is a testament to the creativity and resourcefulness of Indigenous artists. Traditional cross-hatching designs adorn the life-sized fruit bats, hanging in a mesmerizing display that draws visitors into the heart of Aboriginal culture. Similarly, the mass of hollow log coffins from central Arnhem Land housed in the National Gallery invites exploration and contemplation, showcasing the diversity and depth of Indigenous artistic expression.

Camp dog sculptures, unassuming yet powerful in their representation, capture the essence of real camp dogs that populate Indigenous communities. Bush Critter sculptures, carved with wild expressions, reflect the surprises of the bush, creating a connection between art and nature. Dennis Nona’s exquisite bronze and aluminum sculptures, particularly those of stingrays, add a touch of finesse and exoticism to the cultural landscape.

While these artworks reflect both everyday needs and ceremonial purposes, recent incidents of vandalism highlight the urgent need for greater education and respect. Ancient Aboriginal rock carvings, some dating back thousands of years, have been marred by scratches, fire remnants, and motorcycle tracks. The damage not only impacts the physical sites but also inflicts emotional wounds on the Indigenous communities connected to these sacred places.

Local Aboriginal woman Minmi Gugubarra expresses the deep emotional toll of the vandalism, emphasizing that these carvings are more than drawings—they are lifeblood, carrying the stories and spirituality of her people. The call for better education resonates strongly, as many Australians may not fully understand the historical significance of these sites, some of which predate structures like the pyramids of Egypt. If you are migrating to Australia ensure you learn about the amazing indigenous artifacts so that you can help to spread the word and protect them!.

Gavi Duncan, a Gomilaroi, Mandandanji, and Awaba man, emphasizes the importance of recognizing and respecting these sites, which are older than iconic landmarks worldwide. The need for better protection, education, and consultation with Aboriginal communities is clear. Vandalism reflects a broader issue of under-education about the significance of these places, prompting a call for more comprehensive efforts to bridge the cultural gap.

While incidents of vandalism cast a shadow, there are ongoing efforts by organizations like the National Parks and Wildlife Service (NPWS) and the Forestry Corporation to work with local Aboriginal communities. Signs at sites like Bulgandry Aboriginal Art Site and collaborations with cultural heritage supervisors demonstrate a commitment to educating visitors about the sacred nature of these locations.

Australia’s Indigenous art stands as a testament to the enduring spirit of its First Nations people. As we marvel at these expressions of culture, it is crucial to recognize the responsibility we all share in preserving and respecting the sacred sites that hold the stories of Australia’s ancient past. Through education, consultation, and increased awareness, we can ensure that these cultural treasures continue to inspire and connect us all.

There are many resources online if you would like to learn more or visit your local museum when you arrive in Australia.

Google “The Most Famous Artist,” and one of the first links that comes up is for a guy named Matty Mo. His work is designed to grab attention online — he’s best known for turning the “Hollywood” sign into one that said “Hollyweed,” and says his preferred medium is “tomfoolery.”

But after years of flashy projects that were all about the internet, Mo wants to get loud about things like climate change.

“Resilience, sustainability and self sufficiency — those are the topics that I think matter as we face future challenges,” Mo said.

So he reached out to another artist, Ajax Axe, who runs an organization called Kairos Futura in Aspen and Nairobi, Kenya. It’s an artist collective that collaborates with scientists and activists on projects related to climate change, on the premise that creative messaging and buzzworthy events can help more people think about their impact on the environment and engage with the world around them. (The initiative started as an “Aspen Space Station” installation a few years ago with a catchy slogan: “Earth is sexier than Mars.”)

Then, Axe invited Mo to a “Burn Lab” program earlier this year that started with a long day of manual labor on Basalt Mountain in the scar of the Lake Christine wildfire. More than half a dozen artists were part of a volunteer group to help the White River National Forest with a soil restoration project in a sliver of the 12,000 acres that burned back in 2018.

Axe said artists are good communicators, “and we’re capable of making issues that might be difficult to understand easy and visually appealing for people.”

“And so my goal is to help the scientists who are doing really important work to get more funding to be able to expand these wildfire ecosystem restoration projects,” she added.

Funding isn’t the only challenge, though. You also need manpower, according to U.S. Forest Service soil scientist Ryan Sparhawk.

“I’m a single resource for the forest and the only soil scientist on site,” he said. “I have a lot of work to do across the White River, and my time is limited, but when a group can come together to help me with this, it’s a big opportunity for me to try something new.”

The hard work started with shovels, as Axe and Mo helped Sparhawk dig a soil pit to gain a better sense of how the land irecovering from the fire.

“We’ve got burnt roots, there’s no soil structure in this, the organic matter is all burnt off,” Sparhawk said. “This is the result of a … high soil burn severity fire.”

And where there used to be a lot of different vegetation, now it’s mostly plumeless thistle, a prickly, invasive plant that isn’t great for wildlife habitat, cattle grazing or biodiversity.

The Forest Service could spray the land with herbicide — that would get rid of the thistle — but since they have some help from Kairos Futura, the crew gets to try something different, to see if they can restore the soil health with a mix of organisms like fungus and bacteria.

“Reintroducing that biological life back into these soils should help to make a system that is conducive to our native plant growth,” Sparhawk said.

Doing that is no leisurely stroll in the woods, though. Crews had to don heavy plastic backpacks, sloshing around with a “tea” that contains the microorganisms, and climb up a hill over fallen trees and pokey thistle, pumping a handle up and down to get the liquid out.

Sparhawk said this kind of experimental project with the Forest Service couldn’t happen without help from a group like Kairos Futura. But usually, the manpower comes from outdoor and environmental science groups. This project — a collaboration with Kairos Futura and the advocacy nonprofit Wilderness Workshop — stood out because it also involved painters and sculptors.

“I have not seen anything like this before with artists,” he said.

“And so bringing (them) on was a really unique and fun experience for me to … think about our natural resources in a different way,” Sparhawk added.

Thinking about natural resources in a new way is the whole point of Kairos Futura. So after that long, hard day in the field, the “Burn Lab” program met in a cozy cabin in the woods and started brainstorming.

“I was trying to figure out, how can we make it such a pleasurable experience that when people finish the day, they’re like, ‘I can’t wait to go back again and do that next weekend,’ right?” Axe said.

That’s going to be critical, based on the numbers Matty Mo has been crunching. The Lake Christine fire burned more than 12,000 acres, and it took one exhausting day with roughly a dozen people to help restore a tiny fraction of that land.

”I think the scale of the problem became very apparent to me, after spending eight hours with 12 people, only fixing maybe two acres,” Mo said.

But while the repair efforts covered only a couple of acres, artist Hannah Rothstein said it felt great to get out in the dirt and take action in a more boots-on-the-ground way.

“I’m excited about having a tactical way to help the planet, because so often, there’s … so much talk and no action,” Rothstein said. “And this is a pretty easy way to make an impact and an easy way for me to do that beyond just making art.”

At the brainstorming session, the artists came up with ideas like a climate camp, where people might actually pay to have this experience if it included catering, a DJ and maybe some matching outfits that would help people develop a sense of shared identity.

“We have a whole Burning Man culture here that we can tap into, right?” Axe said. “Like, we have a culture of this idea of radical self-reliance, of people getting teams together, of organizing and going out and being in tough conditions. So how can we not hack that for the entire western United States to be actually mobilizing these teams into the field?”

Mobilization is part of Kairos Futura’s evolution, as it expands its programming beyond book clubs and future-forward happy hours to include more work in the field. Axe wants to build on the pledges and petitions that support climate initiatives with efforts that encourage everyone to get their hands dirty, too.

Even a small contribution to something like soil restoration can help people feel like they’re part of a climate solution, Axe said.

“When we feel helpless is when we feel the most hopeless,” she said. “And I think when we feel like there is clear action that can be taken to … mitigate or to transform a tragic situation into something that can promise hope for the future, I think that that is always going to be a source of energy and momentum for both individuals and communities.”

Sparhawk, from the Forest Service, hopes that’s the case too.

He said they’re in the planning stages for future collaborations with Kairos Futura. And while teaming up with artists may be unusual in his line of work, he’s looking forward to more of it.

CHICAGO (WLS) — The Christmas movie season is in full swing, and the latest one that just started streaming is “Dashing Through the Snow.”

The movie stars Chris “Ludacris” Bridges, who is from Champaign, Illinois, and Lil Rel Howery, who is from Chicago. They joined ABC7 to talk about their Yuletide comedy.

Ludacris plays a dad with a grudge against the holiday, but he and his daughter discover the rollicking spirit of the season!

“I call everything this time of year ‘Luda-Christmas,’ including this movie,” Ludacris said.

He plays the ultimate skeptic in the film, but that is a big departure from his real-life festive feelings.

“I’m the present day Scrooge,” Ludacris said. “I love doing things that people will say, ‘I would never have saw Luda in that character.’ So that’s exactly why I did it. That’s what acting is all about.”

Lil Rel Howery first got to know ABC7’s Hosea Sanders at a Bud Billiken Parade a few years ago, which is an iconic Chicago tradition. Now, he’s landed an iconic role in his new film.

“You know, I didn’t know I was going to be Santa Claus,” Howery said. “I’m excited, especially for my hometown of Chicago, to represent Chicago as the Black Santa. This is a perfect time for this very funny, humorous, healing movie.”

The actors hope to send a message of joy with their film to Chicago and beyond.

“One of the biggest things I hope people take away, with me starring in this, I hope I inspire other Chicago artists, young people that dreams do come true,” Howery said. “I’m playing Santa Claus in a Disney movie, and I’m from the West Side of Chicago.”

“Dashing Through the Snow” is now streaming on Disney+.

“I’m gonna say you will laugh during this movie, and if you’ve ever gone through anything and had a little bit of trauma you might cry as well,” Ludacris said. “And those are the type of movies, those emotional roller coasters, that stick with you for the rest of your life.”

The Walt Disney Company is the parent company of ABC7 Chicago.

Crystal Bridges said Poorman Cocker “plays a key role in strengthening relationships with Indigenous artists.”

BENTONVILLE, Ark. — Crystal Bridges Museum of American Arts has selected Jordan Poorman Cocker as curator of Indigenous Art. 

The museum said Poorman Cocker is “an enrolled member of the Kiowa Tribe” and she has over 10 years of study in Indigenous art. 

Crystal Bridges said in the announcement that Poorman Cocker “plays a key role in strengthening relationships with Indigenous artists” and said, “Her extensive knowledge of the field will play a pivotal role as Crystal Bridges continues to grow its collection to encompass myriad histories, aesthetics, and cultural expressions.” 

The chief curator at the museum Austen Bailly said Poorman Cocker is very knowledgeable in the category. 

“She brings exceptional expertise and vision to our institution. Jordan’s leadership and contributions to developing the museum’s collection and presentation of Indigenous art will ensure it reflects the richness and diversity of Indigenous cultures and will be instrumental to helping Crystal Bridges advance its mission to welcome all to explore the unfolding story of America,” said Bailly. 

Poorman Cocker said she’s excited to join Crystal Bridges. 

“It’s inspiring to be part of a fine arts museum located here on Caddo, Quapaw, and Osage ancestral territories. I’m eager to bring my scholarship to the institution, provide more opportunities for the museum to connect with Indigenous artists, and critically engage in ongoing conversations surrounding Indigenous art throughout the country,” she said. 

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IOWA CITY, Iowa (KCRG) – The City of Iowa City is searching for an artist to design, create, and install a public art installation at Highland Park.

Officials say the goal of the project is to develop an installation that commemorates and artistically and accurately acknowledges Indigenous history of the Meskwaki/Sauk Nations in the Lucas Farms Neighborhood.

The installation will be subject to approval by the Iowa City Public Art Advisory Committee. Submissions must be sent in by January 11th, 2024. Preference will be given to Indigenous artists.

Those interested can read the Request for Qualifications and submit an application form online.

Copyright 2023 KCRG. All rights reserved.

Through his paintings, iconic artist Vincent Namatjira brings famous faces like Donald Trump, Queen Elizabeth II and Slim Dusty to his remote community of Indulkana, in the Anangu Pitjantjatjara Yankunytjatjara (APY) Lands in South Australia.

There, they become “equals” on Country and the canvas.

Known for his bold, vibrant portraits that blend dry wit with poignancy and power, the Western Aranda artist is one of Australia’s biggest names in contemporary art.

Namatjira has exhibited internationally and gained wide acclaim — including as the first Indigenous artist to win the Archibald Prize, with his 2020 portrait of former AFL player Adam Goodes.

He’s also the great-grandson of renowned Australian landscape painter Albert Namatjira: “I feel his influence when I paint, especially when I paint our Country.”

But it’s taken a fierce self-belief and strength for the artist to get to where he is today.

In honour of the first-ever survey exhibition of his work on display at the Art Gallery of South Australia, bringing together art from the first decade of his career, Namatjira shares stories of his art and life, in his own words.

Vincent Namatjira in his own words

“My practice, my career is getting bigger — here’s the biggest ever solo show. I wanted to bring my neck of the woods to the big smoke. Just share my work and bring my Country here and stand strong for who I am.

“I know I’m an artist, I feel it all the time, and I knew from the start when I was a little kid that painting is in my blood.

“The Country I paint on is Indulkana community, and also I paint sometimes at Alice Springs on Country, the Telegraph Station, Mount Sunder and Glen Helen. I like to take the canvas out some days and do it on Country, instead of in the studio. In the studio we’re packed with 30 artists, so it gets pretty noisy.

“I paint pretty much Australia — the life of Australia, the people in Australia, the colours, the scenery, the Outback and the people that are running this place.

“When I see the painting is not finished in the way I want it to look, then I get back to it. It’s like taking on a battlefield — the start it’s just a plain battlefield and there’s nothing on there, and then when I put paint on [the canvas], then it turns into something magic.

“I’m interested in painting strong figures and leaders. We see them on the news and wonder how and why they make their decisions.

“The way I paint these world leaders and politicians and the Royal Family is making them level with the rest of the world and stripping them away from their comfort zone, placing them on my Country.

“It’s my message in these paintings with these world leaders, saying that, in Australia, these people are not recognised as global leaders of this country. We are here first. We’ll always be here first. And we’ll always be here forever, first.

“This one [featuring Trump and Putin], with me and my Toyota, with my footprints on the ground, saying that we have footprints on the ground and forever will.

“I like to paint with a little bit of humour. Humour takes away some of their power and keeps us all equal.

“It’s a hard one to pick, but [in the future] I might do a painting of the Prime Minister, what’s his name … Albanese. I just want to paint him, sort him out, just paint him, make him happy.

“You gotta have some fun, and be proud of what you do. And also, we have to have fun with life, and sometimes serious life, but pretty much just have fun because we only have one life.

“My favourite painting is the one of me patting the dingo, with my rock T-shirt, with Captain Cook in the background, the Queen on the horse and me holding an Aboriginal flag. It’s like, ‘You need to slow down, and wait, and we need to be the leaders here’.

“I like music. I’ve always loved music, any kind of music, especially rock and country.

“I like Slim Dusty’s music, he’s a legend, king. I’ll never stop painting Slim Dusty, never. We have Archie Roach, we have Slim Dusty, Charlie Pride.

“But I’m a hard-headed painter, I love my rock. I listen to Deep Purple, Black Sabbath, AC/DC, Guns N’ Roses, Nirvana and Metallica while I paint. It puts me in my own world, and it blocks out everything,.

“[The Adam Goodes] painting, that’s a big achievement for me, and I’ve completed my life ambition. When I was growing up and going through school and even Year 12, my ambition [was] to take out the Archibald Prize and, 15 years later, I did it.

“The feeling was amazing, and it made me really proud to become the first Indigenous artist to win the Archibald Prize in 99 years.

“I painted Adam Goodes because of my childhood experience in the city, growing up in Australia.

“I was taken to foster care and placed into the city, stripped away from language, culture, family and all my tradition. I was taken to Perth because of the losing of my mother, age six. During that time, there was a lot of criticism, a lot of racism and a lot of hardship, with being who I am as a Black man — a Black boy going to school, just to do Year 12 in Perth city.

“I spent years in Perth, and turned 18, and I went back and reconnected with family. I went back to Hermannsburg, Alice Springs. Forty people came out in tears…

“The reason why I painted the Royal Family is because of a connection with my great grandfather, Albert Namatjira; he received the Coronation Medal from the Queen. Also it’s one of my ambitions, to receive Sir Vincent Namatjira.

“The connection runs deep and it has shaped who I am as an artist. I’m proud to be continuing the Namatjira legacy.

“I respect the old people — their strong culture, their knowledge and their art — but a young fella like me doesn’t want to make traditional paintings.

“Just like Albert Namatjira, I wanted to find my own way, to find my own voice and to be heard.

“[Art] gives me a way of bringing my way of seeing everything — in my personal life and in the world today — [and] bringing it all together.

“Aboriginal people in Australia, we’re not just artists, we are also just people of this Country and leaders and role models of this Country — traditional owners. We are custodians of this Country, and I just pay respect and acknowledgement to the past.

“I believe in the power of art, the power of the paintbrush.

The Vincent Namatjira: Australia in Colour exhibition is at the Art Gallery of South Australia until 21 January 2024, before opening at the National Gallery of Australia in Canberra in March 2024.

Quotes lightly edited for clarity and brevity.

Live bands, costumed characters, food and hot chocolate vendors, steampunk art installations and kids’ activities will fill the plaza and surrounding streets.

In honor and celebration of Native American Heritage Month, the Notre Dame Initiative on Race and Resilience, in collaboration with its artist-in-residence, David Martin, hosted a Native American dance and drum performance in DeBartolo Hall on Wednesday, Nov. 8. The program featured songs and dance styles of Potawatomi and other Great Lakes region tribes to share culture, celebrate heritage and strengthen connections between the Pokagon Band of Potawatomi and Notre Dame. It was the first time in nearly 30 years that Notre Dame hosted a large Indigenous dance and drum event on campus.

Martin is a citizen of the Pokagon Band of Potawatomi and used his upbringing in a traditional Native family to influence his art. Proudly self-trained, he works in artistic mediums including oil painting, beadwork and tattoo art. During his residency, Martin plans to focus his artistic energy into depicting Pokagon scenes and people from the past with a unique eye toward the present and future of his people.

Martin is open to visit classes during the fall 2023 and spring 2024 semesters. He will also have open studio hours each week showcasing his beadworking (from 2 to 4 p.m. on Wednesdays in Room 301, O’Shaughnessy Hall) and oil painting (from 2 to 4 p.m. on Thursdays in Room 204A, Riley Hall). Feel free to drop in and to check out his work and chat. Please reach out to Anna Haskins (ahaskins@nd.edu) with questions.

Additionally, Martin will be showing a variety of his oil paintings at the Corvilla Community Art Gallery now through Thursday, Dec. 28.

If you are interested in having Martin come speak to or work with your class, please fill out this request form.

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Looking for a Native-made gift for that special someone? Craving some Indian tacos or a bowl of corn soup? Then stop by the Jacobson House for the Holiday Art Market, happening 10 a.m.-6 p.m. Saturday, Nov. 25-Sunday, Nov. 26 at 609 Chautauqua in Norman.

The market features Native artists selling their finest paintings, jewelry and handcrafted items.

Unite the People Native Caterers begin food sales at 11 a.m. until sold out. Indian tacos will be $10 each, a corn soup and frybread combo is $9 and a choice of regular or spicy meat pies is $7 each. Cash, card, Cashapp and PayPal will be accepted for food payments.

In addition to Native holiday goods and treats, the market will also feature live powwow music from the Jacobson House Singers, as well as works from the Jacobson House Native Art Center’s permanent collection.

For more information, call the Jacobson House Native Art Center at 405-706-1101 or visit www.jacobsonhouse.art.

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