Aboriginal indigene
402 creative works found
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I began this series with the idea I’d create something for my boyfriend’s office. The initial efforts were photos of clouds (see earlier images) but I felt it was a great opportunity to do more painting. The plan was to have something that expresses a feeling of nature, wide open spaces and strong, bold colour. Their space needed something masculine and simple, also. Previously, much of the paintings that had been completed were done for the home, for the interior space, with a gentle, decorative sensibility. An office requires imagery which is a little more robust. I had been getting out and about, looking at different exhibitions and artists, and enjoyed the way artists like Minnie Pwerle used big, expressive strokes, rather than precious, little ones. I enjoyed the sense of freedom. Deciding I also wanted to create an ‘expanse’, it is mindfully created simply as an abstract painting. It is without reference to Sugar Bag country or any specific area at all. It is difficult not to be influenced by the colours we see surrounding us-I love bright colour and having spent a year with a teacher who had Aboriginal heritage who both encouraged us to be more aware of Aboriginal history and simultaneously scared us so much about copyright and the infringements on people’s stories and country, I have been extremely sensitive about the journey and the influence. I have done a fair amount of reading on the subject, spoken to the cultural officer at the AGNSW who aassures me as long as you are telling your own story, it’s OK. It also inspired me to teach Aborignal history to my students, as I was as a child and reflects a connection I have always felt to the sky, the earth and the spirit within.
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Watercolour on paper. 2007. Portrait of an Indigenous artist, Papunya, ca. 1970 from a photograph by Michael Jenson. source: National Library of Australia / / / / Papunya (23°13′S, 131°54′E), is a small Indigenous Australian community of about 350 people roughly 240 km northwest of Alice Springs in the Northern Territory, Australia. It is now home to a number of displaced Aboriginal people mainly from the Pintubi and Luritja tribes. / / / / Pintupi and Luritja people were forced off their traditional country in the 1930s and moved into Hermannsburg and Haast’s Bluff where there were government ration depots. There were often tragic confrontations between these people, with their nomadic hunter-gathering lifestyle, and the cattlemen who were moving into the country and over-using the limited water supplies of the region for their cattle. / / / / The Australian government built a water bore and some basic housing at Papunya in the 1950s to provide room for the increasing populations of people in the already-established Aboriginal communities and reserves. The community grew to over a thousand people in the early 1970s and was plagued by poor living conditions, health problems,[such as flu, the disease of the white man which the aboriginals’ bodies found hard to fight off] and tensions between various tribal and linguistic groups. These festering problems led many people, especially the Pintupi, to move further west closer to their traditional country. After settling in a series of outstations, with little or no support from the government, the new community of Kintore was established about 250 km west of Papunya in the early 1980s. / / / / It was during the 1970s that a striking and unique blend of ancient and modern art styles began to emerge in Papunya and by the 1980s had begun to attract national and then international attention, now commanding a proud place on world art markets. source: www.wikepedia.org / / / / / / / / New original art listed every Sunday night in my eBay store
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This is a girl playing the ukulele on the sideline of a football match. It was the clown’s ukulele, who performs and entertains the children at the sports carnival. He leaves various items including unicycles and skateboards for the children to play with. This little girl caught my attention. Most children are running around and having fun – running, jumping and playing – whereas she just sat alone for a few short minutes, by herself. Behind her a game of football was being played in the background. Hard to believe.
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Portrait of an Australian aborigine
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this image depicts the dreaming story of creation in Mungo
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Bardi ‘Saltwater’ people at England’s most famous sacred site Stonehenge: Photo: © Julian Andrews. Goolaman is a word used by the Bardi ‘Saltwater’ people meaning frilled lizard. The Bardi people are from the Dampier Peninsula situated around 200 kilometres north-east of Broome, Western Australia. They are coastal people who have looked to the land, open waters, tidal flats and mangrove creeks for thousands of years for food, law and traditions. Even to this day Bardi people continue to practice their culture and to live this way of life. About Posters: RedBubble posters are available in three sizes, with a maximum print area of A2, A1 or A0 Posters are printed with a 5mm white border. They’re printed on durable 180GSM matte stock. These posters are water-proof, which we discovered when James “washed” one in the sink. Although the print survived surprisingly well, we recommend ordering new posters in preference to scrubbing them under a faucet. Each print is available in 5 seasons: Summer Print / Winter Print / Spring Print / Autumn Print Monsoon Print – Black White. /
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Bardi ‘Saltwater’ people at England’s most famous sacred site Stonehenge: Photo: © Julian Andrews. Irrgil / Marrga is a words used by the Bardi ‘Saltwater’ people meaning boomerang & shield. The Bardi people are from the Dampier Peninsula situated around 200 kilometres north-east of Broome, Western Australia. They are coastal people who have looked to the land, open waters, tidal flats and mangrove creeks for thousands of years for food, law and traditions. Even to this day Bardi people continue to practice their culture and to live this way of life. About Laminated Prints: Laminated prints are affordable, high–quality prints of the great work on RedBubble. Buying laminated prints is an easy way of providing encouragement to the artist, and still having change for that huge mounted print for the living room. Definitely the “impulse buy” of the art world. Each print is available in 5 seasons: Summer Print Winter Print / Spring Print / Autumn Print / Monsoon Print – Black White. /
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Bardi ‘Saltwater’ people at England’s most famous sacred site Stonehenge: Photo: © Julian Andrews. Joorr is a word used by the Bardi ‘Saltwater’ people meaning snake. The Bardi people are from the Dampier Peninsula situated around 200 kilometres north-east of Broome, Western Australia. They are coastal people who have looked to the land, open waters, tidal flats and mangrove creeks for thousands of years for food, law and traditions. Even to this day Bardi people continue to practice their culture and to live this way of life. About Framed Prints: Finely-crafted custom frames create stunning art pieces from RedBubble prints. Frames are crafted from quality timbers in a range of finishes. A white, off-white or black matte surrounds the print to emphasize the artist’s work and bring the piece to life. Premium ultra-clear perspex in front provides a superior finish and means the piece is lighter and easier for you to move without breaking. Each print is available in 5 seasons: Summer Print / Winter Print / Spring Print / Autumn Print / Monsoon Print – Black White.
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Bardi ‘Saltwater’ people at England’s most famous sacred site Stonehenge: Photo: © Julian Andrews. Irrgil / Marrga is a words used by the Bardi ‘Saltwater’ people meaning boomerang & shield. The Bardi people are from the Dampier Peninsula situated around 200 kilometres north-east of Broome, Western Australia. They are coastal people who have looked to the land, open waters, tidal flats and mangrove creeks for thousands of years for food, law and traditions. Even to this day Bardi people continue to practice their culture and to live this way of life. About Framed Prints: Finely-crafted custom frames create stunning art pieces from RedBubble prints. Frames are crafted from quality timbers in a range of finishes. A white, off-white or black matte surrounds the print to emphasize the artist’s work and bring the piece to life. Premium ultra-clear perspex in front provides a superior finish and means the piece is lighter and easier for you to move without breaking. Each print is available in 5 seasons: Summer Print / Winter Print / Spring Print / Autumn Print / Monsoon Print – Black White.
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This picture of a lovely laughing child was taken some years ago now while I was driving out from Meekathara in the WA central desert on my way towards the Gun Barrel Highway. At a tiny camp called Wiluna I stopped to look for some art and come across this family sitting in their car in the shade. This child’s sweet face has stayed with me all this time but today, this momentus day, is the first time I’ve felt like I could display it. Little Debbie and her family are impoverished by anyones standard but they clearly have love and strong family bonds. This child represents what we that is we white Australians are saying sorry for. Sorry that we couldn’t see value in our fellow Australians. The first settlers here in this wide brown land. Sorry that we took little children away from their family and their country and people. Only a relatively short time ago this child and her mother would have fled at my approach fearing my whiteness and the dreadful things we whites perpetrated upon them in the name of the law. So from the bottom of my heart Debbie I would like to say Sorry. Sorry Sorry indeed I am very sorry. And I hope that now we can all go on together in peace and trust and mutal respect. For all the little Debbie’s white and black and brown and pink and yellow lets all step forward together hand in hand and welcome whatever it is that comes next…..... / . / this image was taken with an old Olympus SLR using Kodak Gold 400 asa film
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/ Yummi Love Children’s Keds Shoe available at Zazzle Here is the utube version of Susan’s Birthday Party by Maureen Logan www.metroscreen.org. which is a screenplay/short movie written, directed and produced by old indigenous friends Maureen and Marvette Logan Lucki Loopi Yummi Love Multicultural Combo Mix / by Karin Taylor / digital creation / /
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For such a common fish the Snapper seems to have a lot of names. In NSW its also known as Red Bream, Cockney, Squire, The Light Horseman and Pinkie. Personally I prefer Wallumai, after all that’s what the local Sydney-siders called it for tens of thousands of years. Much more dignified than “Pinkie”.
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The Cry of the Curlew from a fictioninal novel but based on fact, is very involved ..In the early days of white people occupying and taking over the indigenous people’s land in outback Australia the native aboriginals were considered vermin and there was a determined effort to make them extinct, one way to do this was to poison their waterholes.;hence the two figures in the waterhole.I did this in similar way rock art is drawn, the legend is whenever there is a death the bush curlew cries I haven’t heard one, but they only cry when distressed and apparently the sound is really long mournful and once heard not forgotten. / / Pastel painting from the book Cry of the Curlew by Peter Watt / http://www.fantasticfiction.co.uk/w/peter-watt/cry-of-curlew.htm http://www.peterwatt.com/australia.htm About the Author Peter Watt’s life experiences have included time as a soldier, articled clerk to a solicitor, prawn trawler deckhand, builder’s labourer, pipe layer, real estate salesman, private investigator, police sergeant and adviser to the Royal Papua New Guinea Constabulary. He has lived and worked with Aborigines, Islanders, Vietnamese and Papua New Guineans. / He speaks, reads and writes Vietnamese and Pidgin – and has a reasonable grasp of the English language. He currently lives in Maclean, on the Clarence River in Northern NSW. Good friends, fine food, fishing and the vast open spaces of outback Queensland are his main interests in life. He also enjoys SCUBA diving, military history, crosswords (but not the cryptic kind) and teaching. He is a member of the Australian Institute of Management, the Australian Institute of Training and Development and the Australian Society of Authors. He holds a Bachelor of Arts Degree (University of Tasmania), Post Graduate Diploma of Training & Development (University of New England) and an Associate Diploma of Justice Administration (Sturt University). / Peter’s publisher. Pan-Mcmillon purchased the original painting from me a few years ago and it is hanging in their Sydney offices. [this is a copy because the author wanted it for himslelf and I thought I would get around to it at some time so I could give it to him and I forgot to photograph the original properly]
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Many of the Australian Aboriginal artists are women. I was fortunate to be given permission to take this photo, as with many indigenous cultures there are differing thoughts and beliefs relating to images of themselves and hence “candid” photography can be in some circumstances, very offensive. / Many people believe that the patterns and symbols used in this art are “random” and/or “abstract”, however it is usually well structured with many recognisable symbols used to represent men, women , babies, creatures both in their daily lives and mythical traditions, along with features of their country. / It’s a pity that some “non-indigenous” and either unwitting, or plain unscrupulous people replicate this art in a random manner without the true understanding of the art and its representation. And many make some very big profits from this deception. (Canon 300D – Sigma 18-200mm OS lens) Artist location: Darwin / Background: Kakadu
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/ half coloured image, thanks to gottheshot friend and fellow bubbler for the idea Sales of this design? – 1 framed print sold / / / Binda an aboriginal name meaning ‘deep water’ / I originally drew Binda in pencil and coloured her later in Photoshop / this is a recent drawing I completed a couple of weeks ago / /
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Aboriginal (spiritually-centred) culture is dying, slowly but surely withering within most who claim such heritage — contaminated, corrupted, polluted — disappearing before my living eyes. My heart, my spirit ‘sings’ when ever I have the opportunity to get a glimpse of its remnants, its power, its potency within those few who still struggle to embody the essence of this most ancient ways of relating and living amongst these modern daze. The younger ones mostly want to be “rappers”, get down, and boogie, in acculturated and soul-numbing manner. It is the ways of these times, no fault nor blame, it just is for most. For years I have pined the loss of the spiritual-centre of the Aborigines and their cultural Laws and principles. A loss not only to those of the Aboriginal nations of this country, but also a loss to all of us, of meaning and perspective regarding our inter-connectedness to all that is. I am privileged to know this young man. I know his mother, and I knew his Grandfather. I know his story, his struggles and challenges. And I have witnessed his smile, when he dances in the way of the ancients — I see “them” light-up his being, whenever “they” are sung-up, to dance within him. My heart sings for that time, that moment, that glimpse. And then all returns to normal… I trust he can continue to weather the “storms” that gather around him too often in the people of his kind. I can only hope he grows stronger from each battle he overcomes, calling on the essence of his Spirit from within his body, beneath his skin. I have done this image as a gift to that young man, and to his ill and ailing mother. I wish to share this further, to others whom may hear the humming of the Storm Dreamer — I feel its time to dance, to “dream”, to clear the toxins and the toxic once again, anew… _This image has been Featured in the following RB Groups: 1 In The Beginning – Ancient Practices; Gods and Goddesses; Enchanting Powerful Photo Manipulation; This Is Relevant; 100%; and Inspired Art _ ~ As a Matted Print: ~ As a Framed Print ...and as a Card…
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It’s better to light a candle than to curse the dark / In the eyes of the youth there are question marks / Like freedom / Freedom for the mind and soul / We don’t see them / See them for their worth at all / That’s why we lead them / Lead them to these wars and what is it we feed them / Feed them our impurities and who it is we treat them / Treat them like the enemy humanity will need them / Need them like the blood we spill and where freedom Freedom for the hearts we fill / Mislead them / They hunger for the love we give / But we cheat them The cops beat them when all he wants is his freedom / So they defeat them / Whatever spirit he’s got / Beat them And they teach them that the rest of the world don’t need him / And he believes it’s a disease that he’s heathen / Put up your fists if all you want is freedom ~ Lyrics from “In The Beginning” by K’naan. Can be heard here Original photo of “KA” demonstrating lighting fire in the “traditional” way by rubbing 2 sticks together & igniting the dry grass, which he is holding. (The same young fellow as in “Storm Dreamer”)
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Since time immemorial, the Way to the Tjukurritja (Dreamtime) has been maintained and honoured through various rites-of-passage, and an ensuing disciplined life that revolved around necessary sacred ritual. Instructions from the “agents” (Ancestral Beings) of the Kurrunpa (the life force in all), were entrusted to the initiated; the enlightened, and the custodial. Often, these “messianic-like” people, living within the context of their societies and respective territories, were referred to as “people of High Esteem” … the medicine wo/men and Law men of their respective communities. With the advent and embracing of the Agricultural; Industrial; Scientific and Techno-logical Ages respectively, coupled with the spread of the resultant “Lost Tribes” and colonisation, the demise of knowledge-enabled aboriginal peoples of this world is now upon us. Some of the essential elements of Tjukurritja Tjukurrpa (Dreamtime Story) have survived in the newer societies, though much is lost through the tyranny of distance, erosion, eradication, exploitation, and the evolvement and enforcement of earth-bound time. Even though there have been many attempts to encapsulate and explain the Tjukurritja’s vitalness in definitive terms, the Dreamtime has evaded contemporary analysis and continues to elude the intelligentsia and the selfish “seekers” of the civilised world. ~ Excerpted from my short essay Before Its Gone
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Representatives of the oldest living race/culture in existence today, and a couple of younger folk, celebrating and sharing in a most contemporary, artistic setting. ~ Candid shot. WOMAdelaide 2009 As a Card…
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/ Here is a part portion of a larger painting I’m currently working on. I liked the how effective her face was cropped in a frame, so I’ve uploaded it as a work to stand on it’s own, eventually I’ll finish the full work and upload it here also :) /
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