KEEPING PLACES & BEYOND: Building cultural futures in NSW - a reader - Museums and Galleries NSW
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KEEPING PLACES &
BEYOND:
Building cultural
futures in NSW
a reader
presented by supported by
Museums & Galleries NSW
is supported by the NSW
Government through Arts
NSW.
Keeping Places and Beyond 1
INDEX
OVERVIEW AGENCIES
With respect, opportunities open 2 State Agencies and Non-Government Agencies 68
The Value of Place 4 State Records Authority of NSW 68
This summit and Museums & Galleries NSW 5 Museums & Galleries NSW 68
Museums, Keeping Places and Repatriation 6 Regional Arts NSW 69
PEOPLE & PLACES Aboriginal and Torres Strait Islander Data Archive 70
Goondee Keeping Place, Lightning Ridge 10 NSW Aboriginal Land Council 71
Laddie Timbery’s Aboriginal Arts and Crafts, Huskisson 12 Local Government & Shires Association of NSW 71
Badger Bates, Wilcannia 14 NSW Aboriginal Education Consultative Group 72
Dharriwaa Elders Group, Walgett 16
Monaroo Bobberrer Gudu Aboriginal Cultural Centre, Eden 18 FUNDING BODIES
Brewarrina Aboriginal Cultural Museum 20 Federal Government 74
Wiradjuri Condoblin Corporation, Condoblin 22 The Office for the Arts 74
Armidale Aboriginal Cultural Centre and Keeping Place, Armidale 24 Australia Council for the Arts 74
Boomalli Aboriginal Artists Cooperative, Leichhardt 26 Department of Education, Employment and Workplace
People of the Reeds, Cabbage Tree Island 28 Relations (DEEWR) 77
Boolarng Nangamai Aboriginal Art & Culture Studio, Gerringong 30
Department of Sustainability, Environment, Water,
Euraba Paper Company, Boggabilla 32
Population and Communities 79
Tribal Warrior, Redfern and Sydney Harbour 34
Dhiiyaan Indigenous Unit, Moree 36 National Agencies 81
Yarkuwa Indigenous Knowledge Centre, Deniliquin 38 Regional Arts Australia 81
Saltwater Freshwater Arts Alliance Aboriginal Corp, Mid-North Coast 40 NAVA 81
North Sydney Aboriginal Heritage Office, Northbridge 43 The Arts Law Centre of Australia 81
Lake Macquarie City Art Gallery, Booragul 46 Viscopy 81
Kamilaroi Keeping Place at Moree Plains Gallery, Moree 48 Copyright Agency Limited 82
BEYOND THE CASE STUDIES Quick grant finder websites 83
Community Builders 83
Beyond the case studies 50
Grant Guru 83
RESOURCES Grants Link 83
Cultural Institutions in NSW 52
NSW Reconcilliation Council 83
Australian Museum 52 Free websites 83
State Library of NSW 53
Art Gallery of NSW 54 PROTOCOL DOCUMENTS
Powerhouse Museum 55 Cultural protocols, including Welcome to Country/
NSW Government Departments 56 Acknowledgement of Country: 84
NSW Department of Trade and Investment, Regional Heritage and Languages 84
Infrastructure 56
Artform, museums and galleries 85
Arts NSW 56
Media protocols 85
Office of Aboriginal Affairs NSW 57
Office of Environment and Heritage, Department Education and research 86
of Premier and Cabinet 58 ACKNOWLEDGEMENTS
All photographs are used with PLEASE NOTE:
permission. May contain names or images of deceased
people. All language spellings are as provided
by authors and interviewees.
presented by supported by
OVERVIEW
With respect,
opportunities open
It starts and ends with recognition and across NSW is more vibrant and active In bringing together so many people models from interstate and overseas
respect. than most would expect. Still, much with divergent experience and and extract from sector case studies,
of the great work occurs in isolation, roles in the sector, from heritage issues and themes for development.
NSW has the largest Aboriginal is often project based and requires and environment management and There will be group discussions
population in Australia, yet the dedicated research to uncover. There protection, arts and culture, traditional sessions on the second day to focus
distinctive art and cultures of is no one site, physical or virtual, that knowledge keepers and practitioners, on ideas and recommendations.
Aboriginal NSW underperform in terms accumulates, stores and presents this education, industry and investment,
of visibility and success alongside their knowledge and experience, linking local government and more, we have This reader is designed to help you
counterparts in every other mainland heritage, arts and cultural practice as been guided by this model of the prepare for your attendance at the
state. understood by Aboriginal people. sector: summit.
Aboriginal art and cultures of NSW The summit, Keeping Places & Beyond:
have competed for recognition Building cultural futures in NSW is an
alongside Western, multicultural and opportunity to bring together these
multimedia art movements as well as individuals and organisations with those
Aboriginal arts and culture from the keen to learn about maintaining and
rest of Australia. There are historical invigorating arts and culture in their
reasons for this, starting with NSW communities, along with Government
as the site of first and arguably and other support organisations who
greatest cultural disruption, through can help. Produced by Museums &
to the emergence of Sydney as an Galleries NSW with core funding from
international city with accompanying Arts NSW, it is also supported by
expectations of being a showcase for the NSW Office of Aboriginal Affairs
all that is uniquely Australian. and NSW Aboriginal Land Council.
The summit will produce a platform
Yet, as this publication reveals, the paper and key recommendations for
Aboriginal arts and cultural sector supporting the sector.
Indigenous Population Distribution 2006
While local issues will still require The holistic nature of Aboriginal
Summit: Keeping Places & local solutions, the summit will provide culture means a multidisciplinary
Beyond: Building cultural futures a state-wide forum to discuss what approach is appropriate and
in NSW has and hasn’t worked, models of possible: visual arts, artefacts and
Location: Carriageworks, operation and governance and grass archival material, genealogies,
Everleigh, Sydney roots suggestions for sustaining and libraries, photographs, performance,
Dates: 19th and 20th of improving the sector for this and future storytelling, music, dance, oral
September 2011 generations. histories, ecology of the natural
Objective: Bring together leading landscape, sustainable living,
practitioners in Aboriginal cultural Our time together may be brief, a astronomy and education all have their
maintenance and development mere two days on the 19th and 20th place. Living centres for living cultures
from across NSW to understand of September 2011, but the program also means places for community
site-based best practice is designed to present the broad functions, festivals and markets,
Aim: To build sector capacity and context in which we operate, new ceremonies and celebrations.
visibility Source: Populations Characteristics, Aboriginal and Torres Strait developments on the horizon, key
Islander Australians, Australia, 2006 (cat. no. 4713.0)
Building cultural futures 2 Building cultural futures 3
OVERVIEW
The Value of Place more competitive, products, part of the Regional Arts centres provide opportunities
whether art, artefacts, bush foods NSW network of Regional Arts not only for Aboriginal artists
Places and spaces are the starting or “cultural tourism experiences” Development Officers (RADOs) but for arts workers, for example
point for building cultural futures rarely provide stable income Aboriginal curators, to learn and
in NSW, providing opportunities streams as stand alones • Further education through regional hewn their skills. Participants
for engagement, interaction and TAFE’s and universities has played suggested that new and less well-
experience. Places can be purpose • Successful organisations have a role in helping organisations known Aboriginal artists often
built structures or in situ, such as developed strong governance and establish themselves both in do not get access to venues that
those managed by NSW National business management as well as arts practice and business non-Aboriginal artists would use
Parks & Wildlife. The roles of heritage quality, reliable products development to get their start, and that this
management, keeping places, was an important justification
transmission of knowledge, arts and • There is increased support in • There remains strong interest for Aboriginal arts and cultural
cultural practice, cultural enterprise general across Government but in tapping into cultural tourism centres
and the internet as a platform for no universal model of funding experience markets even though
virtual spaces will be central to the opportunities. Also, years few successful models exist. • Another potential purpose
discussions and recommendations. of project funding does not New means of communication participants gave for Aboriginal
necessarily result in organisational via the internet and other media arts and cultural centres is
Can keeping places engage funding and stability may help build audiences through to provide the facilities and
communities? How do not-for-profit aggregated websites. Also the equipment (kilns, presses, etc) for
centres successfully develop cultural • There is strong understanding Regional Arts NSW research Aboriginal artists to do their work.
enterprise? What protocols should of the role of heritage in paper, Determining Training and This is particularly important given
there be around knowledge sharing on communities: traditional Education Needs in the NSW the high cost of people equipping
the internet? What opportunities can knowledge and cultural practice, Aboriginal Visual Arts Sector, by themselves, which acts as a
be created for education and training, language documentation, Ruben Allas and Annette Easie deterrent for people to continue in
career pathways and mentoring? genealogies, traditional stories (31/1/2010) identifies new the arts
What indeed, does success look like and post contact histories. Many technologies as attracting young
for Aboriginal arts and culture in centres are engaged in these Aboriginal students to study arts • Other justifications given were
NSW? You will find more issue-based activities solely or as a basis for or participate in arts-related that arts centres act like agents
questions at the end of each case further creative practice. Despite activities, many in disadvantaged for the people who use them,
study. this, Governments up until now regional communities connecting potential markets
have struggled conceptually to to these artists, and hopefully
While not intended as a complete fund these foundation activities, This Summit and Museums & opening doors for them. Centres
survey of all arts and culture sites in though more recent evidence Galleries NSW can connect artists to one
NSW, some strong themes emerge in suggests hope for the future another, creating networks of
these case studies: This summit is specifically identified practise and the opportunity for
• 52.6 per cent of the NSW
• The natural environment including within the Arts NSW Aboriginal people to assist one another. They
Aboriginal population identifies
• Communities that are up and sites of meaning, bush foods and Arts and Cultural Strategy 2010 can also provide a focal point
with a clan, tribal or language
running with sites for arts and care for environment are easily (2.3.3). Additionally, the community and meeting place for the local
group while 42.4 per cent does
cultural activity don’t just want accommodated within many consultations that informed that Aboriginal community to learn
not
them, they really want them. That centres’ activities as part of the strategy indicated: about Aboriginal culture in a safe
• 80.9 per cent of the NSW
is, time and again there has been Aboriginal holistic approach to and nurturing environment
Aboriginal population does not
initiative and commitment, often culture. Where funding may be • A major piece of infrastructure
Furthermore:
speak an Aboriginal language;
without financial compensation, to available to assist, it is usually that was advocated was Aboriginal
15.9 per cent speaks only
establish premises, organisations isolated within heritage and arts and cultural centres, or
• Aboriginal arts and culture is
some words; 3.2 per cent
and activity and keep them environment, though some random “blackfella spaces”, which
critical to creating stronger
speaks fluently
running art based projects have drawn many participants wanted to
communities
• 29.5 per cent live on their
from this source be located around NSW. While
homelands; 35.3 per cent do
• Volunteering is not easily people described different types
• Aboriginal artists should be
not live on homelands; 35.2
understood as such, it is • Community health and wellbeing is of centres, with varying ideas of
supported to work in communities
per cent does not recognise
more about commitment to also a readily understood concept what they should contain and how
to facilitate people expressing
homelands
one’s culture and community, for engagement with arts and they should work, a common view
their culture, validating the
• However, 56 per cent are
particularly youth and future culture, particularly amongst is that emerging Aboriginal artists
current lived experience and
involved in events, ceremonies
generations Elders need a place where they can
passing it on
and organisations while 44 per
exhibit/perform their work to test
cent are not
• Despite this, many centres and • Arts and cultural activity is ideas, build confidence and provide
From ABS National Aboriginal and Torres
groups struggle for existence. significantly increased where there a stepping stone to exhibiting/ • Arts NSW should be seeking to
Strait Islander Social Survey, 2008
Economic times are getting are Regional Indigenous Cultural performing in larger venues and create partnerships with other
(released 21 April 2010)
tougher, funding opportunities Development Officers (RICDO’s) non-Aboriginal venues. These agencies to bring arts and cultural
Building cultural futures 4 Building cultural futures 5
OVERVIEW
activities to the forefront of work repatriation should be directed to The Association of Northern, Kimberley with Elders and culture, and an
with Aboriginal communities. these agencies. and Arnhem Artists (ANKAA) works extensive research library dating back
This requires a holistic view of across the Aboriginal art industry in: to the 1800’s.
Aboriginal art and culture and But clearly we need to recognise and • Consultation
what it can do for Aboriginal support the importance of environment • Advocacy and lobbying It has a website:
people and communities and heritage in the development of • Resourcing and supporting www.koorieheritagetrust.com
arts and cultural practice through • Training
Museums & Galleries NSW as the centres. In its work in this area, the • Referral and networking In Queensland and the Northern
support and advocacy body for the Office of Country, Culture and Heritage • Marketing and promotion (telling Territory, networks of Indigenous
sector has been endorsed by Arts NSW defines two types of physical sites: people about art centres and Knowledge Centres have been
to organise and facilitate the summit artists). developed through regional libraries,
and prepare the final report. Ready to Return Centres It has a website: www.ankaaa.org.au offering training and engagement in
This refers to The Office of multimedia and internet technology,
Although not a major funding agency, Environment and Heritage (OEH) Desart is the Association of Central recording oral histories and developing
M&G NSW has a proud history of storage facilities which are for the Australian Aboriginal Art and Craft digital storytelling. Based on these
support for the Aboriginal sector in safe-keeping of Aboriginal cultural Centres and is committed to: models, the Federal Government
its 12 years of operation, including material awaiting planned repatriation • Respect for traditional culture and commissioned a feasibility report for a
successive Aboriginal Board members. to Country (i.e. to the Aboriginal Aboriginal peoples’ aspirations National Indigenous Knowledge Centre
Overall, the State’s Aboriginal It has now appointed an Aboriginal community of origin). These centres • Employment for Aboriginal people and network, physical or virtual in
population will increase from Sector Development Manager and the are a nominated point that enables • Support for sound governance, 2010 but no further announcements
162,871 to 210,659 in 2021. summit is a key part of the devised provenance cultural material to leave professional standards and ethical have been made.
strategy. OEH and other collecting agencies and industry practices Queensland Indigenous Knowledge
• The Aboriginal population return to Country. • Marketing and advocacy for Centres:
of the Western Sydney and Museums, Keeping Places and Aboriginal-owned art centres
South-West Sydney region is Repatriation Keeping Places • To represent the voice of www.slq.qld.gov.au/about/who/ Almost one quarter (23 per cent)
forecast to increase by 26 per This refers to Aboriginal community Aboriginal art centres and their orgchart/ils/ikc of Indigenous people living in
cent by 2021 from 29,962 in Much has changed in the museum managed places for the safekeeping artists and advocate effectively NSW participated in at least one
2009 to 37,763 in 2021 sector and its relationship with of repatriated cultural material. Such Northern Territory Indigenous Indigenous creative arts activity
• the average age of the Indigenous peoples, particularly places can be established within a It has a website: www.desart.com.au Knowledge Centres:
State’s Aboriginal population around custodianship of artefacts OEH facility, however, they are more • 823 Indigenous people in
will increase from 21 years to and return of human remains. From likely to be established within a facility Located in Melbourne CBD, The Koorie www.ntl.nt.gov.au/about_us/ NSW were employed in
23 years the 1978 UNESCO (United Nations owned or managed by an Aboriginal Heritage Trust Inc is a not-for-profit knowledgecentres a cultural occupation as
• the proportion of people aged Education, Scientific and Cultural community group. Aboriginal community organisation their main job in 2006,
under 15 years will decrease Organisation) pivotal seminar in that aims to protect, preserve and Closer to home, Aboriginal Affairs and representing 2.3 per cent
from 39 per cent to 34 per Adelaide, Preserving Indigenous While some communities have looked promote the living culture of Aboriginal NSW Aboriginal Education Consultative of all employed Indigenous
cent Cultures to the current Museum to local government for support in people of south-eastern Australia. Group have entered into a partnership people in NSW
• the proportion of people aged Australia policy document Continuing developing a keeping place in a park or The Trust cares for a diverse range focused on language centres. • 23,800 Indigenous people
15 to 29 years will increase Cultures, Ongoing Responsibilities, other public facility, many have folded of artefacts, artworks, crafts, oral The Sydney City Council remains in NSW visited a cultural
from 26 per cent to 28 per Australia is considered at the forefront a keeping place into a larger Aboriginal histories, books, manuscripts, committed to its Eora Journey strategy heritage institution (museum,
cent in world best practice for engagement organisation or built an Aboriginal historical material and photographs for Aboriginal engagement and library or art gallery) at least
• the proportion of people with Indigenous communities and organisation around a keeping place. and houses four gallery spaces; a visibility including research, walking once in the three months
aged 60 years and over will repatriation programs. Those that seek to develop a stand permanent interactive exhibition trails and public artworks. A brochure prior to being interviewed in
increase from 5 per cent to 8 alone keeping place have generally that teaches history and culture, of walking trails highlighting sites of 2008, while 28,400 attended
per cent Unfortunately, publicity of these struggled with ongoing maintenance and a retail shop that sells authentic Aboriginal significance in the council’s movies, theatres or concerts
• about 18 per cent of programs is not always helpful issues. products. area has just been released and can be • 22,000 Indigenous people
Aboriginal people in NSW due to the extreme sensitivities downloaded from its website: in NSW aged 15 years and
will be living in Western and involved. So much of the outstanding As part of the overall development of Some of the activities offered at www.cityofsydney.nsw.gov.au/barani/ over participated in at least
South-West Sydney work in this regard by the National the sector, this summit seeks to align The Trust include art workshops, main.html one Indigenous creative
• about 14.5 per cent of people Museum of Australia, the Australian those with keeping place aspirations educational programs, accredited arts activity (including arts
will be living on the North Museum and the Division of Country, with parallel opportunities to maintain training, cross-cultural training, Gadigal Information Service (GIS) (of and crafts; music, dance
Coast and 12 per cent in the Culture and Heritage, now located and develop cultural engagement. cultural tours and touring exhibitions. which I am Chairperson) should also or theatre; and writing or
Hunter within the Office of Environment & The Trust also provides a range of be mentioned. The home of Koori Radio telling stories) in the 12
• the lowest proportion will be Heritage, Department of Premier & Other Models, Other Places programs and services to the Koorie 93.7FM 2LND and now KR00 digital months prior to interview in
living in the State’s South- Cabinet is not widely understood and community and the general public radio has always had a vision as an 2008. This equates to 23 per
East (3.6 per cent) appreciated. It is not expected that There are other models beyond NSW including assisting community arts media organisation. This was cent of the NSW Indigenous
From NSW Department of Aboriginal this summit delve into this important with which summit delegates should members trace their family history; recognised by the Australia Council’s population
Affairs press release, May 2009 ongoing work and enquiries about be familiar and consider. youth projects designed to connect Aboriginal and Torres Strait Islander From Arts NSW website
Arts Board when GIS was identified
Building cultural futures 6 Building cultural futures 7
OVERVIEW
as a National Leading Organisation for It is up to all of us and your
Indigenous arts based on its strengths commitment to this summit is a
in music and performance. It is only greatly appreciated step towards a
one of five such organisations in the better future.
country and the only one on the East
Coast. Information is also a key part With Respect and in Recognition,
of its original charter which prescribes
a library and multimedia development
and training. To this end, GIS has
developed a Business Plan for a ground
floor library and multimedia facility in
its current premises in Cope Street,
Redfern with a range of potential Steve Miller
partners. The GIS model combines Aboriginal Sector Manager
digital radio with multimedia, based Museums & Galleries NSW
on its archive of interviews and oral
history recordings.
GIS does not see its plan as a bid for a
Sydney-based keeping place or cultural
centre but its model may be of interest
to others. An Aboriginal cultural centre
of some kind is earmarked in the City
of Sydney strategy. Other Aboriginal
groups are advocating for prominent
cultural centres elsewhere, including
Western Sydney and the Gordon and
Elaine Syron Collection of Aboriginal
art has also lobbied to be the basis of
a national Keeping Place.
But to get to that point, the sector
as a whole needs to be networked
and have confidence in its own
futures before the viability of a
state or national based model can
be considered. The roll out of the
National Broadband Network providing
high speed internet access for all
“Aboriginal mentors undertake Australians, means a web-based
presence is vital and may actually Above: Gullaga dance group from
the more important role of precede a physical centre.
cultural knowledge transfer Monarroo Bobberrer Gudu
to new and emerging artists. We know that engagement with the
internet for authentic Aboriginal
Knowledge of creation representation, networking and
stories, regional community development is vital but at the same
and personal histories make time, we recognise that knowledge
Aboriginal art unique.” and material must have their
foundations in physical sites. Capacity
From Determining Training and building of this kind is at the core
Education Needs in the NSW of this summit for the maintenance,
Aboriginal Visual Arts Sector, development and visibility of Aboriginal
Regional Arts NSW research paper arts and culture across NSW.
by Ruben Allas and Annette Easie
(31/1/2010)
Building cultural futures 8 Building cultural futures 9
PEOPLE & PLACES
Goondee Keeping Place,
Lightning Ridge
That’s not a shed, it’s a
goondee for culture
Roy and June Barker decided “We’ve got a good collection of wooden life and when you’re like us, our age, With an eye to the upcoming summit,
to be self-sufficient when they tools. Roy makes all those wooden it’s good to have a good memory. I can we asked June what she thought of
established their Goondee things because he learnt to make them think back to my happy childhood days a digital Keeping Place as a means
Keeping Place in Lightning Ridge when he was a boy. He seen the old and the old people, Aboriginal people I of storing and sharing Aboriginal
fellas on the Brewarrina Mission make lived with, our old Aboriginal aunties. knowledge.
as a do-it-yourself operation.
them. He said he was about ten or This is why we feel good about passing
After being involved in the Brewarrina twelve sitting down watching the old on what we know. And the people “Well that’s still a sharing way
Aboriginal Museum, the Barkers set fellas and they wouldn’t let them muck know us and they know our lives too. I isn’t it? I know I’m old and don’t
up the keeping place in a shed on their about, they had to sit there quiet and think if you know history, you become really understand but that’s the way
Above: Roy and June Barker property in 2000 to store and protect watch them. So Roy picked up the art a part of it. Not one day goes by that everyone’s going, digital. It’s the
their own objects and artefacts. From of it, and over the years he’s improved we don’t talk about the history of the new way to be isn’t it? If you set up
their Goondee Keeping Place they on it from those days. I think he’s been mission. That’s where our memories something like that and want keeping
share their knowledge of Aboriginal down to the school a few times you are and that’s why we like to share places you know, we’ll go on it. Online,
history and culture with locals, know, whichever woodwork teacher what we know. And we get that many whatever it is because it is important
visitors, school groups, university is interested, so they ask him to come phone calls from people and coming to you know, to preserve this stuff. And
classes, backpackers and those down cause he’s covered down there see us you know, asking about their don’t leave it too long. We’re getting
tracing family histories. (liability insurance) and he shows people. on, this stuff should’ve been done 10
the kids, the boys down there how to or 20 years ago. Wherever the interest
To June, naming their home business a woodwork it, how to make a boomerang is from in our Aboriginal people, they
keeping place was obvious, “We were and that. They don’t only make them, must keep going. Keep going, don’t let
keeping all our Aboriginal history and they got to learn to throw them too!” everything die away.”
culture in this little place that we have
here,” she says. “After being involved Their operation is self-funded. The
with the museum in Brewarrina we Barkers received an air cooler from “If you set up something
thought ‘Why should everything be a government department at the like that and want keeping
request of a visiting researcher who
lost?’ Lightning Ridge back then had
couldn’t handle the heat in Lightning
places you know, we’ll go
all these tourists coming through and
Ridge, and a phone/fax machine from
on it. Online, whatever it is
we wanted to share our Aboriginal because it is important you
history and culture with them. the Australian Museum. “That’s the
only two things we ever got from the know to preserve this stuff.
General Information “We have mainly local history here government,” June says. And don’t leave it too long.
from this area. We might have started We’re getting on, this stuff
Name: Goondee Keeping Place Goondee is registered as an Aboriginal should’ve been done 10 or
doing it 40 years ago, when we’d
Location: 90 Pandora Street, Corporation, albeit a small one, to 20 years ago.”
go fishing and you’d find stones and
Lightning Ridge 2834 things laying buried under the mud and allow June to officially advise people on
Phone: 02 6829 2001 in the dirt you know, well we still got their family history. The Barkers have
Email: No those sorts of things on display here. extensive knowledge of family groups
through the Brewarrina mission where
Website: No Roy and June met.
“We’ve got all the old stones, and
we got a scar tree from up the road
Sector Information where the shire pushed it over. Next “I like the history part of things,
Type of organisation: Aboriginal to it we’ve got another tree where Roy and this old fella knows a lot of old
Corporation cut the bark off to show them how it Aboriginal politics too you know but Discussion starters:
can come off in one piece, like the we don’t get into that, well I don’t.
Governance: Self, private It’s sort of part of our lives I think,
business canoes used to be made out of. Next 1. How do your Elders share their
to that we’ve got a little goondee or a coming off the Brewarrina Mission, and
Funding: None knowledge?
little gunyah and then we’ve got some living with all these people that were
Other revenue streams: kangaroo skins. forced there to that mission. We heard
Consultancy them speak their languages from other 2. What steps have been taken to
places. I think it becomes part of your preserve that knowledge?
Building cultural futures 10 Building cultural futures 11
PEOPLE & PLACES
Laddie Timbery’s Aboriginal Arts and
Crafts, Huskisson
Living culture can be a
hard living
Passing on Aboriginal knowledge went on to complete two years of a to visit how much they would be “We’ve tried to get funding but there
from one generation to the Creative Arts degree at Wollongong willing to pay them.” wasn’t a set bracket that covered “We’ve tried to get funding
next has been a Timbery family TAFE. what we do.” Jeff says. “Hopefully but there wasn’t a set
tradition reaching back thousands Jeff still passes on the knowledge of he will do better at that side of bracket that covered what
of years but Laddie Timbery’s “Up until 2000 and the Olympics, craft and tool making, dancing, bush things and take it to the future. we do.”
Aboriginal Arts and Crafts now you’d say there was a lot of demand medicine and the like to his own This is more than entertainment, it
depends more on business for Aboriginal people to do (cultural) four children and does occasional is education, culture and heritage.
knowledge for long term survival. things but then it went back to the workshops and performances at Growing up, it was just part of my
way it was,” he says. their schools. For now the hope life and I didn’t take that much
The Timbery’s are Bidjigal clan, for the small family craft business notice. I didn’t realize until I was
spanning from La Perouse to the Jeff, 41, swapped careers to rests with Jeff’s son Raymond, 19. older how lucky I was and then to
Illawarra and have an iconic status become a paramedic in 2003. Lack A former NSW NP&W Discovery be able to share that with other
for their art and craft, selling and of income was the main reason. Ranger, Raymond is now based Aboriginal people, particularly those
demonstrating their shell work and in Canberra studying Business that had missed out on opportunities
Above: Boomerangs by Laddie burnt pokerwork styles from roadside “I still make craft and occasional Management at TAFE. to learn their culture.”
Timbery stalls to international museums and artworks and put on cultural
galleries. performances but to make it
a fulltime occupation just isn’t
Through the family owned business possible. The overseas travel was
operating as Laddie Timbery’s probably the best part. I did three
Aboriginal Arts and Crafts, Laddie cultural exchanges to Canada,
has a permanent base at the toured England and Scotland,
Lady Denman Heritage complex played didj with the Beijing
at Huskisson near Jervis Bay on Symphony and Shanghai Symphony
the South Coast. From this hub, orchestras in China and toured
General Information
Laddie offers a range of cultural South Korea,” he says. “As cultural Below: Laddie Timbery.
Name: Laddie Timbery’s exchange, I’d say there was a
presentations including boomerang
Aboriginal Arts and Crafts closer cultural connection with the
making and throwing, bush tucker
Location: Lady Denman Heritage walks and storytelling. At 70, Laddie Canadians because their cultures
Complex, Cnr Woollamia Road shows no signs of slowing down, and experiences have so much in
and Dent Street, Huskisson 2540 travelling to schools across the common with us, we got a lot out of
Phone: 02 4441 5999 state. that.”
Email: admin@ladydenman.asn.au
Website: www.ladydenman.asn. “Schools have kept me in business Jeff says the school visit work is not
au since 1983,” Laddie says, adding consistent enough for both Laddie
he has just delivered a bush tucker and himself. Discussion starters:
Sector Information medicine course for TAFE. The long
term future of the business is another “There is no money in school visits. 1. Are there traditional craftmak-
Type of organisation: Family Every school wanted us in NAIDOC
matter. Although all his own children ers maintaining culture and mak-
business are skilled in cultural practice and Week and there are only five school
Governance: Self-managed days in that week which means only ing a living in your area?
knowledge, the business cannot
Funding: None support them. Laddie’s youngest five schools we can visit. Also, every
Other revenue streams: son Jeff was keen and for a time Government department wanted us 2. Should craftmaking as cultural
Workshops, performances, able to follow in his dad’s footsteps to do Welcome to Country for free. I maintenance sit within Heritage,
cultural tours as a cultural presenter and maker. wonder if they wanted The Wiggles Education, Arts or somewhere
He started out as a signwriter and else?
Building cultural futures 12 Building cultural futures 13
PEOPLE & PLACES
Badger Bates, Wilcannia
Badger carves his own
future
Like many cultural practitioners, There was a fellow by the name of Bill a hammer and a chisel, a mallet and I had two exhibitions, everything sold.
Badger (William Brian) Bates Hudson, he was from Moree, he used to a chisel and it can take it. Then I’ll Then TAFE approached me because I “It puts me back to when I
worked for NSW National Parks & paint and carve lino. Bill Hudson was control myself and start to carve in had too many in my class. So what we was small and I had nothing.
Wildlife for a time, but has gone really my inspiration to carve lino cause stone because it’s different again and done then we sat around like a family It brings the old people back
he was just a good mate, an Aboriginal you shouldn’t hit stone too hard or it’ll gathering. We’d have a barbecue and to me even though they
out on his own in recent years. fella from Moree. He was the fella that break. It’s just about the mood I’m mothers come along with their kids.
The TAFE had these rules set up, but
have passed on. And I don’t
kicked me off and because he passed in. Sometimes it’s the weather, if it’s
Badger was born on the Darling on I just keep on doing it for the sake of too cold then I can’t sit outside and you know these are the people from
really feel any different from
River at Wilcannia in 1947. He was Bill you know, because he can’t sit with I don’t intend to, or don’t work in a Wilcannia, they’re my people. If they what I used to. I’m just me.”
Above: Badger Bates raised by his extended family and his me anymore he’s there in spirit with gallery because I can’t confine myself can’t come here with their babies, with
grandmother, Granny Moysey, who me. My partner Sarah, she also inspired to being locked inside. their kids, little ones and their dogs
spoke several Aboriginal languages me too. then I don’t want the job, I’m going.
and knew many traditional songs and What do you think are the biggest
stories. Badger was employed by NSW It’s just an everyday thing to me like challenges facing Aboriginal artists? You know there were little fellas there
NP&WS as an Aboriginal Sites Officer breathing. You see something and you We need more communication with in Wilcannia sniffing petrol at the time.
for 21 years. This enabled him to want to do it, you know? And what the people out in the bush, like This fella would come along and he’d
continue travelling the country looking really, really, really inspires me is when myself, like my people. I’d like to say ‘Uncle Badger can I bring him
after important places and teaching some young person will sit down and see a lot of the city artists come out here?’ and they’d be looking over the
young people about their culture and say ‘I want to do what you do’. sometimes and share what they know fence, and I’d say ‘Just bring him’.
their country. In 2004, he retired from with some of the people out here. Then these TAFE people come up and
NP&WS and is now a fulltime artist Do you run a program or do you just sit they say ‘Badger, too many people.
and cultural heritage consultant. down with whoever is interested? What do you see as the main You can’t have all these people’ but
Badger is an established artist using Whoever’s interested up in Wilcannia. obstacles? it’s not right. I said, ‘If you’re going
the mediums of linocut print, wood, The other day we just bought a lot of It’s about funding. What I see with to send these people away, I’m going
emu egg and stone carving and paints and, well I’ve got a house in it, sometimes what seems to happen with them’. You got to work with them,
metalwork. Wilcannia and now we got the fence up, in Wilcannia is they’ll get funding for not set rules on people, that’s the way
so sometimes I get the kids to paint Aboriginal art or something and then I get on with them and it’s great.
What have you been doing since you the fence. Sit down with them and talk some white person will get hold of it
left NSW National Parks & Wildlife? and then I’ll draw something on the and the blackfellas get nothing. This Do you get any funding at all from
Just doing my artwork and going fence and get them to paint. happens a couple of times and there’s anywhere?
across to Wilcannia, ‘cause I originally no backup for them you know? I don’t No. I was thinking about it but I don’t
General Information
come from Wilcannia. I help the young I think art, whether it’s sitting down want to sound prejudiced or racist but know where to go. Usually when
Name: Badger Bates people, try and get them interested in making a pair of clapping sticks or a usually they get the money, and they you ask for funding you got to be an Discussion starters:
Location: PO Box 272, Broken art and show them how to go about boomerang or whatever art is, it can work it for a while then it just gets organisation or something like that.
Hill 2880 things. One of my specialties is lino continue our culture on, and it relaxes lost. I’m not saying I’m Mr. Perfect If I got funding, I promise, and I don’t
them more. I see them when they or anything but a lot of the people make many promises, but I promise 1. Have you considered how
Phone: 0429 867 296 prints. I started when I was a little
fella. My grandmother used to teach sit around playing video games and won’t work with strangers you know, you that if I got funding it would be compliance issues such as public
Email: sarahmartin2@bigpond.
me how to carve Emu eggs when I was dressing like Americans, they feel a it sort of mucks them up, and they shared with the Wilcannia people, I’d liability and fire safety impact the
com go back there, do the art work and
about eight in Wilcannia. I grew up on bit strained, but if you sit down, start just walk away from it because like, development of cultural practice
Website: None the riverbank in a tin hut. I said to her teaching them art, they change back to I was a National Parks Officer for 21 pull an exhibition off with my funding and artistic expression in your
one day ‘I’m going to make stuff with who they are. years and coming from Wilcannia I if I ever got it. I’ll show you what we
was scared to work in an office for a make here in the bush. area?
Sector Information steel and try and join it together with
Type of organisation: Individual fire,’ so even when I was small I was Could you tell me a little bit about the long time.
talking about it. Then I got out on me different techniques you use? 2. From traditional carving to
Governance: n/a own and with National Parks, I started A lot of people call me a sculptor but I went across in ‘95 to Wilcannia. I working with circular saw blades
Funding: None whittling stuff. My first stone I carved I’m not a sculptor, I’m a carver. To took some time off National Parks and rusty bike chains, how else
Other revenue streams: sales was for the sculpture symposium for me, ‘sculptor’ is a strange word. As and I took a job at TAFE for a while.
an artist, I don’t know how to define They said they couldn’t draw, they
can cultural practice continue and
of art through exhibitions; Fred Hollows here in Broken Hill.
myself really. If I’m cranky sometimes couldn’t carve anything and I said adapt? Would cultural exchange
consultancy
I’ll carve wood. You can hit wood with ‘Well I can’t either’ but in six weeks, between cities and towns help?
Building cultural futures 14 Building cultural futures 15
PEOPLE & PLACES
Dharriwaa Elders Group, Walgett
Plenty to do for Walgett
Elders
Above: DEG Elders Councillors Dharriwaa Elders Group (DEG) Members come from Gamilaraay, The DEG convenes the Walgett In previous years the Dharriwaa Elders
Vera Dennis and Gladys Walford at began with project funding Yuwaalaraay and Ngiyambaa Gamilaraay Yuwaalaraay Language Group has actively sought to pass on “Youth these days have lost
the launch of Memories of Living auspiced by the Walgett countries. Teaching Group (WGYLTG) in order to cultural knowledge to Walgett youth their cultural identity and
Aboriginal Medical Service in drive language teaching in Walgett by undertaking youth and Elders’ we are trying to bring it
Outside Walgett which both women
The purpose of the association is to and support its ongoing sustainability. camps, youth and Elders’ site trips
contributed to extensively 1998. It became an association
support Aboriginal Elders to resume A strategic plan has been developed and an Elders’ school program. In
back to them.”
in 2000 with the late George leadership roles in the community, by the WGYLTG so it can focus its the 2010/11 year the DEG has been
Rose OAM as its Founding keeping active and healthy; promote work for the sustainability of language working with the Dept of Education
Chairperson. Dharriwaa is a local Aboriginal cultural knowledge programs and teaching in Walgett. and Catholic Schools Office with
common meeting place word from and identity and develop the Walgett Aboriginal cultural curriculum
surrounding languages. Aboriginal community. Another important activity of the DEG development and planning for new
is its work to protect the Aboriginal Elders school programs beginning in
Local Elder Richard Lake talks about The Elders Centre provides a much- cultural values of places, biodiversity the 2011/12 year, funds permitting.
the success of the Dharriwaa Elders needed meeting place and contact and landscapes. It has produced
Group: point for Aboriginal Elders and those a cultural values register which it The kids really enjoy the Elders and
who wish to engage respectfully with uses as a land and site management youth camps. What we do is teach
The key achievement of the Dharriwaa them. A weekly Elder’s health program and mapping tool. Liaison with legal them about bush medicine and stuff
Elders Group is to provide a place and is provided by health stakeholders advisors, landholders and government like that. Because we take people out
support for Elders to meet, heal and who meet regularly to co-ordinate is a regular activity and our data is with us that know these things, I’ve
provide cultural leadership for their the program. By providing an Elders used by the DEG and government to had kids coming back saying ‘When’s
community. Centre, the DEG is able to undertake assist with on-the-ground compliance the next one! When’s the next one!’
cultural activities. The provision of with NSW and Commonwealth laws. Teach them respect, stuff like that.
Key outcomes include: the Elders’ meeting place facilitates
Elders’ healing, leadership, decision-
- The provision of transport, staff making and advisory services and
and infrastructure to facilitate is the key to the DEG being able
Elders’ involvement in the centre and to undertake cultural management Left: The Memories of Living Outside
community activities, programs. Walgett Exhibition, Richard Lake in
General Information - A cultural keeping place foreground
Name: Dharriwaa Elders Group - Cultural exhibitions The DEG also maintains a main street
cultural exhibition space, Walgett’s
Location: 47 Fox St Walgett NSW - A cultural values register that
first Aboriginal arts and crafts retail
2832 records Elders’ knowledge about
places and why they are significant outlet, cultural collection and policy
Phone: 02 6828 2619 - Maintenance of a collection and library. The DEG is developing a
Email: info@ library of resources cultural tourism visitors’ rest spot
dharriwaaeldersgroup.org.au - Maintenance (including the rescue) by the river for Walgett, and has
developed in the past interpretative
Website: www. of threatened places of cultural value
signs for Council regarding Aboriginal
dharriwaaeldersgroup.org.au - Production of a community monthly
magazine for 10 years (discontinued cultural heritage.
due to funding cuts in June 2010) and
Sector Information other learning resources The DEG has just produced a language
Discussion starters:
Type of organisation: Aboriginal - The provision of advocacy and resource booklet about the Narran
support for Elders to have a voice Lakes creation story. Until June 2010
organisation we produced the monthly community 1. How are your Elders engaged
Governance: Board and develop and implement programs
in the community whether it is with magazine Yundiboo which was regularly in youth arts and
Funding: Federal and State schools, youth and family social distributed to schools and community culture?
governments programs etc. Youth these days have and provided cultural information and
Other revenue streams: Support lost their cultural identity and we are news.
2. How has project funding helped
from individuals and companies trying to bring it back to them
build your organisation?
Building cultural futures 16 Building cultural futures 17PEOPLE & PLACES
Monaroo Bobberrer Gudu Aboriginal
Cultural Centre, Eden
Season workers create
cultural sea change
Above: Monaroo Bobberer Gudu
Aboriginal Cultural Centre Built by the Eden LALC in 1994 to was left undone was the Monaroo the spears and things for our NAIDOC and back again. They wrote another
preserve and revitalise Aboriginal people. There were lots of other areas program and we make bark canoes one called Mutton Fish: The Surviving “The cultural centre is
culture from the area, Monaroo of identity but the Monaroo people and dugouts. I’m one of the few people Culture of Aboriginal People and amazing, it’s been done
Bobberrer Gudu (MBG) has seemed to have slipped off the face of left alive that knows how to make the Abalone on the South Coast of NSW, right in as much as
grown under the guidance of the the earth. So we decided we’d build spear tips. I’m doing it so they go into which is about abalone, a real part of Aboriginal people actually
a centre that would research and the cultural centre and on account our cultural lifestyle. built it from below the
Twofold Aboriginal Corporation to document all that related to Aboriginal of these young people too. And we
accommodate a business (AJN people in the Monaroo area. We’ve wanna raise up, if we can, in the next As well as the organisation, the centre
ground to the top of the roof
Oysters). done language research for the whole couple of years a gumleaf band for the itself expanding all the time, we’ve
under supervision. So the
coast from Bermagui to Nowra and cultural centre. Some of the kids are got an active archive, an active Board building itself is a unique
Since the establishment of the documented all the language that’s keen to learn how to play a gumleaf. and an active centre that’s being feature.”
Bega Valley Aboriginal Advancement been let go of that we know now, used so there have been lots of main
Association, Pastor Ossie Cruse has about 180 words. We also found in Our youth camps have been operating achievements, put it that way. The
been actively involved with Aboriginal our research that Aboriginal people since 1975 and we haven’t slackened main one is our culture slipping away
Affairs, the National Aboriginal interacted in two major ceremonies, in our youth program. There’s about so quickly and to preserve it, to have
Conference, NSW Aboriginal Land the Bogong Moth ceremony up on 10 or 11 youth groups now. I think it intact in an archive is just priceless.
Council, advised both state and federal the tablelands at Kosciusko, and the they meet in Albury this October. Our
governments on Aboriginal issues, and whale ceremony in Twofold Bay. group is the Jarndoo; it means “killer We work differently to a lot of other
championed various community and whale”. All these young people they communities even though we are from
local programs for the advancement of In our research we found there was like to have fun. Some call themselves all over the place. We work as one
Aboriginal people. a corridor from Eden all the way up different tribal names such as Bush people. We have tremendous rapport
to Kosciusko that Aboriginal people Ant and Goanna. We wanna try and with the schools. We’ve got 45 kids
Why do you think your model has been had used. Then we found that there get them away from drugs and alcohol going through secondary and we hope
so successful? was a corridor of campsites about and suicide and that rubbish. There’s to get them all through. We developed
I think it has been successful because 25kms away that go all the way up. probably 18-20 in each group but a cadetship to get our kids into early
of people. We’ve always worked We haven’t fully completed it yet but there’s lots of activities going on. It’s training in years 9-12. They go into
together. We are a unique community we’ve walked the whole distance open to all young people Aboriginal doing cadetships with whatever trade
in that most of us came out of what now and we’ve found the single trail and non-Aboriginal. they want to do, doing something
General Information was called the season workers. There that our people have used for many practical one or two days a week.
Name: Monaroo Bobberrer Gudu was no fixed mission here, most of thousands of generations. We’ve just finished, with the
us were season workers who worked cooperation of the main agencies,
Aboriginal Cultural Centre That’s the sort of stuff that we’re our land and sea country plan. We’ve
together across the country. Then the
Location: Cnr Mitchell and picking machines put us out of work, putting in the archives in our cultural developed that with all the key players
Mailing St, Eden 2551 so we found ourselves living in shanty centre and we’ve got four ladies in the region. We’ve got the local
Phone: 02 6495 6343 towns on the river banks and car that have done a lot of research. government there, National Parks,
Email: edenlalcprojects@bigpond. bodies and everywhere until in 1968 Now we’re doing arts and crafts and Forests NSW and Primary Industries. It
we formed the Bega Valley Aboriginal things, and documenting these things probably took us three years all up but Discussion starters:
com digitally. we completed that this year. So that’s
Advancement Association. We decided
Website: No that we’d relocate everybody out of going to put us in good stead to get 1. How do heritage, arts and
the shanty huts and things into a good The cultural centre is amazing, going with a lot of our programs here.
culture bring your community
Sector Information home and that’s how we came to be it’s been done right in as much as
at Eden. Aboriginal people actually built it from What are some of the main together?
Type of organisation: Aboriginal
below the ground to the top of the achievements of MBG?
Organisation
What is the focus of the research roof under supervision. So the building The main achievement would be the 2. How might language,
Governance: Volunteer Board undertaken at MBG? itself is a unique feature. preservation of Aboriginal culture. Our traditional festivals, local bush
Funding: No main source of My involvement has been pretty ladies have written two books, one is
What sort of cultural activities are run called Bittangabeetribe: An Aboriginal
foods and musical instruments,
funding extensive in a lot of areas and what
I’ve found in being involved is there’s from MBG? Story From Coastal NSW, that traces as examples, assist your
Other revenue streams:
an acute loss of Aboriginal culture The ladies are here having their a tribe of Aboriginal people from the community’s cultural expression
Donations
over the years. One of the areas that class today. I am making some of coast to the Bogong Moth (ceremony) and identity?
Building cultural futures 18 Building cultural futures 19PEOPLE & PLACES
Brewarrina Aboriginal Cultural Museum
Heritage site fed
thousands but museum
struggles
The Phoenix Project seeks to What type of land is the museum on? How did the museum come about? got the display area up to where it
Above: Inside the Brewarrina restore one of the world’s oldest Who owns it? How is it managed? It was the community itself wanted was before. We’ve still got some work “People do volunteer for
Aboriginal Cultural Museum engineered structures, the The building rests on Crown Land. It’s to have a place. It came out of a fear to do outside. We’ve got a purpose things, all sorts of things,
a Crown Land Reserve and as such that their culture would be lost and landscape area for medicinal plants but they don’t regard
Brewarrina fish traps. but we haven’t got any plants in there themselves as a volunteer
the owner is the Department of Land especially that they wouldn’t have it
Operating out of the Brewarrina and Property Management (DLPM). to teach the young ones. They wanted yet. We’ve got the gardens and the and when you talk about
Business Centre, Project Manager They are happy for the museum to be a central point where they could watering systems in, we’re waiting being a volunteer they don’t
Charlotte Finch has overseen the there. It used to have a Trustee Board collect their cultural knowledge and on funding so hopefully we’ll get the quite grasp the concept.”
conservation work on the fish traps but that folded when the museum hold it, not just hold it as historical okay for funding to put plants in. We’re
which were badly damaged during closed. The DLPM was looking fact but hold it and keep perpetuating doing it all on a shoestring, that’s the
10 years of drought. The Brewarrina for someone to take it on, so the its knowledge onto Indigenous youth. problem. The other thing that beats us
Cultural Museum alongside the fish Brewarrina Business Centre has the It’s documented that they had up to is time. I’ve been on it for two years
traps is also struggling to reopen as temporary trusteeship of the museum. 5000 people in their gatherings here. and my contract runs out at the end of
a fulltime operation, as a means to It is planned that once the museum The fact that they had such a huge June.
improve the local economy. is back up to capacity it will have habitation at certain times along
a Trustee Board. It sits overlooking those river banks close by means that We don’t have a structure for the staff.
When, how and why was the museum the Brewarrina Fish Traps which is there’s a lot of stuff still around. There’s not a big understanding of
and cultural centre established? the oldest engineered structure in being a volunteer in Bre and there are
About 20 years ago it was very the world and potentially the oldest Probably our main source of cultural all sorts of reasons for that. People do
much a community museum. It was man made structure in the world. It integrity comes from Roy and June volunteer for things, all sorts of things,
established because of something actually has one of the best spots for Barker, so whenever I hit anything but they don’t regard themselves as
the community particularly wanted. viewing that and as such, it is also an that there’s a bit of to and fro in the a ‘volunteer’ and when you talk about
The museum buildings are actually interpretative centre for the fish traps. community, I just refer back to them. being a volunteer they don’t quite
constructed out of domes, it’s done The museum’s aim is mainly to protect As soon as I say ‘This is how Roy grasp the concept. We did go down
like this to represent gunyas. It’s the knowledge, the Indigenous culture and June said to do it’ then I’m fine, the line of applying for an Indigenous
purpose built and doesn’t require any of the surrounding area, but also to nobody queries me. community volunteer, and our idea was
air conditioning as it keeps the correct pass that knowledge on particularly if we had staff or volunteers they could
temperature in the display area for the to the younger Indigenous people of How does the museum figure in come in and mentor and show how the
General Information artefacts day and night, winter and the area and more broadly to people of the business development plans for business should be run.
Name: The Brewarrina Aboriginal summer, which is quite something in other cultures. Brewarrina?
Cultural Museum itself - the architect actually won an It’s actually one of the focal What do you think are the main
award for it when it was built. Its primary aim is the education and points. Especially with the tourist barriers stopping the museum and
Location: Cnr Bathurst & Darling
the keeping of knowledge rather than development plan, the fish traps and other centers like it from moving
Street, Brewarrina, 2839 The centre closed about nine years a commercial aspect. The tourism the museum are seen as the two forward?
Phone: 02 6830 5152 ago for a variety of reasons that is what will keep the museum open biggest draw cards to Brewarrina. Unrealistic expectations. People
Email: museum@brebc.com.au just all happened at once. We had as that is what will bring the funding What Brewarrina has got is a lot don’t realize how long it takes to get
Website: N/A a community opening August 2010 in. Already the response we have of of people going from east to west, something up and going. I think just
all though we have been working on people going through it is phenomenal. west to east because we sit in the the physical things of getting the jobs
Sector Information it since July 2009. Since then we middle between Lightning Ridge and done and getting the money with the
Type of organisation: Aboriginal have had public tours through there. We also have a number of items Bourke. Tourism NSW has catalogued museum - and especially a community Discussion Starters:
Organisation under the We don’t have the capacity at the that aren’t for display and need to that quite well and potentially museum - people have very specific
Cooperatives act moment to have the doors open all-day be locked away such as men only that’s 30,000 people a year through ideas. Most of Brewarrina would like 1. How is volunteering
Governance: Trusteeship everyday but we do have a set tour in business stuff. We do have some older Brewarrina. The trick is to get them to this fully staffed and doors open all-
the morning that was conducted by men that are willing to help us with stop and stay. day everyday, but it’s not going to
understood in your community?
temporarily held by the the project people. One of those has that but until we get a secure place happen. Things don’t happen that way
Brewarrina Business Centre actually gone on to set up a tour guide for these items that’s probably our What needs to happen to make the unless you get a benefactor but it’s 2. Could your community use a
Funding: Limited to project business and at the time being she biggest risk at the moment. museum a sustainable success? very much a community museum and “phoenix” project, a business
funding does them. When the Museum gets to We’re still sort of very fledgling and if they don’t want an outside benefactor centre and business plan for
Other revenue streams: Guided the capacity where we are open all-day we hit a rocky patch, we could falter, appearing to take over.
everyday, the museum staff will do the even now. What we’ve done is we’ve
arts and cultural expression
tours tours themselves. development?
Building cultural futures 20 Building cultural futures 21You can also read
