From Another View – Laverton and Ngaanyatjarra Lands 6 – 10 August 2018

Users are warned there may be words and descriptions (from historical texts) that may be culturally sensitive and which might not normally be used in certain public or community contexts.

Given the success of the Storylines session  the From Another View project team undertook on our previous visit, a follow up session at the Laverton Community Resource Centre was held. The session was another success with new insights into ways Aboriginal peoples lived, worked and moved throughout the Goldfields and Western Desert regions.

People attending the session were able to identify a number of  previously unidentified people in photographs on Storylines. For example, the image below had only identified Mr Lapten in the foreground. However, during the session Mr Noel Green in the background was identified.

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Mr Lapten with hose near windmill at Cosmo Newbery Mission. https://storylines.slwa.wa.gov.au/archive-store/view/6/7594

Previous to the From Another View project there were no known photographs of Noel in the State Library collections but as a result of this engagement there are two images, which are now easily accessible to his family.

The image below, a  grindstone photographed in Warburton in the 1960s, started discussion about its traditional use. Community members informed us that grindstones are  used to grind seeds from plants like Mulga trees, wildflowers, grass and others to make flour for damper.

Ngaanyatjarra Lands 8 – 10 August

Warburton

John Forrest and the expedition team travelled north of where the Warburton Community is now located. During the travel they had interactions with Yarnangu people:

“11th [August]. Continued on to the water found ahead, and on our way saw some clay-holes with water and satisfied the horses. When near the spring, saw natives’ tracks, and shortly afterwards a fire with a whole kangaroo roasting in it. The natives had made off when they saw us, leaving their game cooking. Continuing on, and passing the native well, we reached the granite rocks, two miles from the spring, and camped. While having dinner we saw two natives about a quarter of a mile from us, watching us; we beckoned to them, and Windich and I approached them. As we neared them they began talking and moving off slowly; we could not get close to them, although they did not appear to be afraid of us. Some fine ranges are visible from here South-East.East.” 

– Forrest, J. Explorations in Australia. 1875 online at Project Gutenberg
http://gutenberg.net.au/ebooks/e00051.html 

The project team visited the Wilurarra Creative youth arts centre and Warburton Arts to discuss the project. Wilurarra Creative undertake a number of projects in visual arts, music, audio visual and fashion including operating a hair salon. Warburton Art centre is an international art space and holds “the largest collection of Indigenous art in Australia that is held by Aboriginal people themselves”.

Blackstone

During the trek, Alexander Forrest collected plant specimens at locations north of Warburton and east of Wingellina community. Approximately half of the specimens collected have known ethnobotanical uses. The purpose of the visit to Blackstone was to identify plant specimens which were collected during the 1874 expedition, and learn about the traditional cultural knowledge of plants.

After an early drive from Warburton (to account for a change in time-zone) the project team met up with the Blackstone/Papulankutja Ranger group. The group took the project team to a place between Wingellina and Blackstone overlooking Mt Aloysius .

The group dug for maku (bardi/witchitcy grub) in the roots of Acacia bushes and prepared a bush tomato (Solanum) to eat. In the local Ngaanyatjarra and Pitjantjarra languages the maku bush is called wartakarra/warṯarka and the bush tomato kampurarrpa, karti-karti/kampuṟara.

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The following photos are by State Library of Western Australia. Thank you to Blackstone Rangers and Ngaanyatjarra Council for giving permission to take and use photographs.

holding maku

Maku live in the roots of Acacia bushes such as the Acacia ligulata and the Acacia kempeana

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Bush tomato plant, possibly Solanum chippendalei

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Preparing bush tomato for eating.

It was a cold day so the Storylines session was moved from the ’50 cent hall’ to the Women’s Centre. The session was well attended by the community including children, community elders and the Ranger group.

There were a lot of stories shared about life at the Warburton mission and people identified  photos of community members. Community members described the photo below as “ration time”. Those present explained “The first warden to the right (in police hat) is there to check on everyone and make sure there’s no trouble”.

  • The Community members also explained that the rock hole identified in the photo below, is a soak.  “When they dig out, they put grass on it, so the water can come up clean… Natural filter. This is a soak not a rock hole.”
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    Digging out a rock hole, Warburton Ranges, 1949 https://storylines.slwa.wa.gov.au/archive-store/view/6/2463

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    Filtering rockhole water with spinifex to clean it, Warburton Ranges, 1949 https://storylines.slwa.wa.gov.au/archive-store/view/6/2466

    For more information about the From Another View Project, visit the website 

    Storylines is an online archive managed and hosted by the State Library of Western Australia, with advice and guidance provided by an Aboriginal Reference Group with ongoing state-wide consultation. Storylines provides for the digital return of photos and other materials directly to Aboriginal families, communities and people. It is also helping to identify many of the photographs in the J.S. Battye Collection at the State Library.  Hundreds of photographs have been identified since 2013. To access Storylines go to: https://storylines.slwa.wa.gov.au

From Another View Project: Wiluna to the Carnegie Homestead, via the Canning Stock Route and Glenayle station 26 – 30 May 2018

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From 26-30 May, State Library staff, Bill Gannon and Rod Schlencker travelled from Wiluna via the Canning Stock Route to Windich Spring, Pierre Spring, the Weld Spring/Palatji and then via Glenayle Station to the Carnegie Homestead. The State Library recognise the right of Martu people to check images and content prior to posting online. Therefore, there will be a delay in posting information related to areas closer to the Canning Stock Route. Please check the Google Map for location details.

On 30 May 2018, the project team, Bill and Rod travelled to Mount Moore to view the cairn which John Forrest built at the eastern end of the peak.  During this trip, the project team worked closely with the Martu people from the Birriliburru Native Title area.  John and Alexander Forrest visited Mount Moore between 22 and 26 June 2018. John’s account in Explorations in Australia 1874 states that he visited on 22 June 1874. However, the published map contains the dates 25 and 26 June 1874, at Camp 50.  Mount Moore was named after Mr. W.D. Moore of Fremantle, a subscriber to the Expedition Fund.  On top of Mount Moore, Bill Gannon sketched the Timperley Range which John Forrest described in his diary:

Ascending the the hill we had an extensive view to the South-West, South and South-East. Fine grassy country all round and very little spinifex. To the south about nine miles we saw a lake, and farther off a remarkable red-faced range, which I named Timperley Range, after my friend Mr. W.H. Timperley, Inspector of Police, from whom I received a great deal of assistance before leaving Champion Bay. A remarkable peak, with a reddish top, bore South-South-East, which I named Mount Hosken, after Mr. M. Hosken, of Geraldton, a contributor to the expedition.  Forrrest, J. Explorations in Australia. 1875

To keep informed of project updates follow the From Another View project blog: https://fromanotherview.blog/

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From Another View in Geraldton

The From Another View project team visited Geraldton, opened a pop-up exhibition at the Museum of Geraldton and conducted a Storylines session at the Geraldton Regional Library.

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Pop up exhibition at Museum of Geraldton (c) State Library of Western Australia, 2018

At the opening of the exhibition, Pop Robert Ronan welcomed audience members to Southern Yamaji country, the land of the Nhanhagardi, Wilunyu and Amangu. Robert reminisced about life in Geraldton, and as a younger man sitting near the John Forrest statue on the foreshore. Robert recollected wondering about what it might be like for the expedition party to travel his country.

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Museum of Geraldton (c) State Library of Western Australia 2018

Members of the Museums of Geraldton Site Advisory committee, and the Walkaway Station Museum attended. In later life, Lady Forrest (Margaret Elvire Hammersley), John Forrest’s wife lived in Georgina near Walkaway. Some of Lady Forrest’s belongings were donated to the Walkaway Station Museum.

The project team helped a number of families reconnect with photographs of family during the two day visit. Here are some of the stories.

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Fred Mallard and Con Kelly and some of the children camped at Galena. Taken at Galena on 2nd October, 1937, at about 6 p.m. by F.I. Bray, D.C.N.A. (Deputy Commissioner [Dept. of] Native Affairs. https://storylines.slwa.wa.gov.au/archive-store/view/6/1403

Charlie Cameron

Mr & Mrs Charlie Cameron at Cue. Photograph taken on 30/9/37 by F.I. Bray, D.C.N.A. https://storylines.slwa.wa.gov.au/archive-store/view/6/1408

During the Storylines session, Trudi Cornish from the Geraldton Regional Library explained that the story of the woman in the photograph is known, however her name is not. The woman was a contemporary of King Billy and ‘gave as good as she got’ when people would mock her with the name ‘Ugly Legs’ due to some scars she had.

Photograph of “Ugly Legs”, Geraldton 1900 https://storylines.slwa.wa.gov.au/archive-store/view/6/9854)

The project team is packed up and ready for the onward journey to Wiluna to conduct a Storylines session and pop-up exhibition on Thursday 24 May 2018 at Tjukurba Art Gallery. The team will then head out to Martu, Birriliburu country along the Canning Stock Route and Gunbarrel Highway to the Mangkili Claypans, with two groups of traditional owners.

Onward

(c) State Library of Western Australia, 2018

Artist Bill Gannon will stop at Pia Wadjarri and visit the school, to discuss his artwork and John Forrest’s trek. Then he will travel to Wiluna via Mt Gould.

Looking at the map. Museum of Geraldton exhibition. (c) State Library of Western Australia, 2018

  • The pop-up exhibition will be on display at the Museum of Geraldton until Sunday 15 July. For opening hours go to: http://museum.wa.gov.au/museums/museum-geraldton/another-view
  • Storylines is an online archive managed and hosted by the State Library of Western Australia, with advice and guidance provided by an Aboriginal Reference Group with ongoing state-wide consultation. Storylines provides for the digital return of photos and other materials directly to Aboriginal families, communities and people. It is also helping to identify many of the photographs in the J.S. Battye Collection at the State Library.  Hundreds of photographs have been identified since 2013. To access Storylines go to: https://storylines.slwa.wa.gov.au

Forrest’s Exploration Diaries now online

Artist Bill Gannon and surveyor Rod Schlenker, visited the State Library to see the original diaries of John and Alexander Forrest’s 1874 expedition from Geraldton to Adelaide. The diaries, which are held in the State Library collections, are now accessible online through the catalogue.(ACC 1241A)

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From Another View Project Coordinator Tui Raven with Rod Schlenker and Bill Gannon as they look at the diaries. (C) State Library of Western Australia, 2018. 

This week Bill Gannon and a team from the State Library will embark on a on a trip to engage with Aboriginal communities and visit key locations along the 1874 trek route.  This artistic and community engagement is part of the ‘From Another View’ project, a collaboration between the State Library and Minderoo Foundation.  The project considers the trek ‘from another view’, or rather from many views, incorporating various creative and Aboriginal community perspectives.

Explore some of the camp locations referenced in John and Alexander Forrest’s diaries through the Google map.

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Forrest’s Expedition to Central Australia, State Library of Western Australia, ACC 1241A

For more information about the From Another View project go to: https://fromanotherview.blog/  Follow the From Another View blog to keep updated with the project.

 

See My Hat! new exhibition for children and families coming soon

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Studio portrait of Ella Mackay wearing a paper hat, 1915, State Library of Western Australia, 230179PD

Featuring photographs and picture books from the State Library collections this exhibition is designed especially for children and families.  Dress hats, uniform hats, fancy dress hats are just some of the millinery styles to explore. Children and their families have the opportunity to make a hat and share a picture book together.

See My Hat! will be on display in the Story Place Gallery, Mezzanine floor from Tuesday 10 April – Wednesday 11 July.

Five minutes with Kylie Howarth

Kylie Howarth is an award winning Western Australian author, illustrator and graphic designer. Original illustrations and draft materials from her most recent picture book 1, 2, Pirate Stew (Five Mile Press) are currently showing in The Story Place Gallery.

We spent some time hearing from Kylie Howarth about the ideas and inspiration behind her work. Here’s what she had to say…

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1, 2, Pirate Stew is all about the power of imagination and the joys of playing in a cardboard box. How do your real life experiences influence your picture book ideas? What role does imagination play?

The kids and I turned the box from our new BBQ into a pirate ship. We painted it together and made anchors, pirate hats and oars. They loved it so much they played in it every day for months… and so the idea for 1, 2, Pirate Stew was born. It eventually fell apart and so did our hot water system, so we used that box to build a rocket. Boxes live long lives around our place. I also cut them up and take them to school visits to do texture rubbings with the students.

Your illustrations for 1, 2, Pirate Stew are unique in that they incorporate painted textures created during backyard art sessions with your children. What encouraged you to do this? How do your children’s artworks inspire you?

I just love children’s paintings. They have an energy I find impossible to replicate. Including them in my book illustrations encourages kids to feel their art is important and that they can make books too. Kids sometimes find highly realistic illustrations intimidating and feel they could never do it themselves. During school and library visits, they love seeing the original finger paintings and potato stamp prints that were used in my books.
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Through digital illustration you have blended hand drawings with painted textures. How has your background and training as a graphic designer influenced your illustrative style?

Being a graphic designer has certainly influenced the colour and composition of my illustrations. In 1, 2, Pirate Stew particularly the use of white space. Many illustrators and designers are afraid of white space but it can be such an effective tool, it allows the book to breathe. The main advantage though is that I have been able to design all my own book covers, select fonts and arrange the text layout.

Sometimes ideas for picture books evolve and change a lot when working with the publisher. Sometimes the ideas don’t change much at all. What was your experience when creating 1, 2, Pirate Stew? Was it similar or different to your previous books Fish Jam and Chip?

I worked with a fabulous editor, Karen Tayleur on all three books. We tweaked the text for Fish Jam and Chip a little to make them sing as best we could. With 1, 2, Pirate Stew however, the text was based on the old nursery rhyme 1, 2, Buckle My Shoe. So there was little room to move as I was constrained to a limited number of syllables and each line had to rhyme. I think we only added one word. I did however further develop the illustrations from my original submission. Initially the character’s faces were a little more stylised so I refined them to be more universal. Creating the mini 3D character model helped me get them looking consistent from different angles throughout the book. I also took many photographs of my boys to sketch from.

1, 2, Pirate Stew – an exhibition is on display at the State Library of Western Australia until 22 June 2017. The exhibition is part of a series showcasing the diverse range of illustrative styles in picture books published by Western Australian authors and illustrators. For more information go to http://www.slwa.wa.gov.au

Local illustration showcase

From digital illustration to watercolor painting and screen-printing, three very different styles of illustration highlight the diversity and originality of picture books published this year. 

In a series of exhibitions, The Story Place Gallery will showcase original artwork by Western Australian illustrators from the picture books 1,2 , Pirate Stew, (Five Mile Press 2017), One Thousand Trees and Colour Me (Fremantle Press 2017).

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7, 8, he took the bait © Kylie Howarth 2017

In 1,2 , Pirate Stew,  Kylie Howarth has used a digital Illustration process to merge her drawings created using water soluble pencils, with background textures painted by her two adventurous children Beau and Jack. Kylie Howarth’s playful illustrations of gentle colours, together with her entertaining rhyming verse, take readers on an imaginative adventure all about the joys of playing in a cardboard box. Illustrations from 1,2, Pirate Stew are on display from 26 May – 22 June.

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Among © Kyle Hughes-Odgers 2017

Kyle Hughes-Odgers’ distinctive illustrations blend geometric shapes, patterns and forms. In his watercolour illustrations for One Thousand Trees, he uses translucent colours and a restricted colour palette to explore the relationship between humankind and the environment. Shades of green browns and grey blues emphasise contrasts between urban and natural scenes. Kyle Hughes-Odgers places the words of the story within his illustrations to accentuate meaning. One Thousand Trees is on display from 24 June to 23 July.

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If I was red © Moira Court

Moira Court’s bold illustration for the book Colour Me (written by Ezekiel Kwaymullina) were created using a woodcut and screen printing technique. Each final illustration is made from layers of silk screen prints created using hand cut paper stencils and transparent ink. Each screen print was then layered with a patchy, textural woodcut or linoleum print. Colours were  printed one at a time to achieve a transparent effect. The story celebrates the power of each individual colour, as well as the power of their combination. Colour Me is on display from 26 July – 16 August.

Each exhibition in this series is curated especially for children and is accompanied by a story sharing area, self-directed activity, and discussion prompters for families

  • The State Library of Western Australia is a wheel chair accessible venue
  • The exhibitions are located in the The Story Place, a vibrant and accessible area with plenty for children and families to do. Located on the mezzanine floor of the State Library The Story Place hosts regular activities including Baby Rhyme Time, Story Time and Activity Time. For more information go to www.slwa.wa.gov.au 

In conversation with the J.S. Battye Creative Fellows

How can contemporary art lead to new discoveries about collections and ways of engaging with history?  Nicola Kaye and Stephen Terry will discuss this idea drawing from the experience of creating Tableau Vivant and the Unobserved.

In conversation with the J.S. Battye Creative Fellows
Thursday 27 April, 6pm
State Library Theatre.

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Tableau Vivant and the Unobserved is the culmination of the State Library’s inaugural J.S. Battye Creative Fellowship.  The Creative Fellowship aims to enhance engagement with the Library’s heritage collections and provide new experiences for the public.

Tableau Vivant and the Unobserved
visually questions how history is made, commemorated and forgotten. Through digital art installation, Nicola Kaye and Stephen Terry expose the unobserved and manipulate our perception of the past.  Their work juxtaposes archival and contemporary imagery to create an interactive experience for the visitor where unobserved lives from the archive collide with the contemporary world. The installation is showing at the State Library until 12 May 2017.

For more information visit: http://www.slwa.wa.gov.au