In Wilam: A Birrarung Story, we enter an Indigenous world which is presented in full page colour illustrations in acrylics, by Indigenous artist Lisa Kennedy. As the Woiwurrung language does not translate directly into English, many of the words used in this stunning book are in their original language. There is a detailed glossary with miniature illustrations at the end with all the definitions of the words used.
The significance and beauty of this publication cannot be understated, as it is also a dedication to William Barak, Wurundjeri Ngurungaeta, 1874. It opens up opportunity for those that are interested in learning about Australia’s traditional landowners, the history of the Yarra and the birds and animals that called it home, to research, read and learn.
Aboriginal literature and other art forms are transforming Australian culture at the moment. The recent Melbourne and Brisbane Writers’ Festivals were both opened by Aboriginal speakers, including dual Miles Franklin winning author, Kim Scott. Leah Purcell’s play script, The Drover’s Wife, won overall Book of the Year in both the NSW and Victorian Premier’s Literary awards. Other Aboriginal authors are also winning major awards with Bruce Pascoe and Ellen Van Neerven recent stand-outs. The ten-year anniversary of Alexis Wright’s Miles Franklin award win for Carpentaria was celebrated at the Brisbane Writers’ Festival this month.
The new sumptuous coffee table book art book, Our Mob, God’s Story also showcases Indigenous Australians through portrayal of their religious beliefs using their traditional form of story-telling through pictures. It is edited by award-winning Christobel Mattingley, known for championing and sharing Aboriginal stories in Maralinga, the Anangu Storyand Maralinga’s Long Shadow: Yvonne’s Story and other books and by Louise Sherman. It is endorsed by Noel Pearson and Boori Monty Pryor, who was the inaugural Children’s Laureate and winner of the Prime Minister’s Literary award (children’s fiction) for Shake a Leg.
The editors spent over four years collecting the artwork, striving to include works from as many language groups as possible. 115 paintings were eventually selected, including two by Yvonne Edwards whose story is told in Maralinga’s Long Shadow.
A glowing range of colours and styles create dynamism throughout the book. The genesis of each artwork is explained and often a brief description of the form and media is included. Some of the Biblical text is also written in language and there is a glossary of symbols.
Creation stories proliferate. They range from Glendora Naden’s earthy, symbolic Creation to Bronwyn Coleman-Sleep’s vibrant Sunflowers (Garden of Eden). Traditional stories from the Old Testament include Kristy Naden’s patterned Noah’s Flood, Rupert Jack’s stunning dot-painting, Abraham (featured image at top), and Gail Naden’s sand and ochre Weilwan Waters II.
Julie Dowling magnificently uses both Aboriginal iconography and European Renaissance-style portraiture in Born for You and Grace Kumbi employs flowing lines and dot work in Three Hunters.
The aerial perspective of Central Australian artwork is demonstrated in Imiyari Adamson’s Tjulpun Tjulpunpa (Desert Wildflowers)
and sinuous symbols show The Greatest Love of All (Bronwyn Coleman-Sleep).
A group of Amata women created the rich, well composed Tree of Life.
As the introduction to the book outlines: “Some narrow-minded missionaries did not seek to understand the culture… Others with a wider vision, sought to learn the heart languages of the people among whom they lived…In this book 66 artists from over 40 First Nations of Australia share their vision of Christ, human and divine.”
Our Mob, God’s Story is a beautiful and significant art book. It is an affirmation and celebration of Australia’s first peoples and those who hold Christian beliefs.
Hopefully it will also help to achieve its aim of reconciliation between Aboriginal and non-Aboriginal Australians.