Preamble
For your convenience I have listed below other posts on Australian aboriginal textiles and artwork.
Untitled Artworks (Exhibition - ArtCloth: Engaging New Visions) Tjariya (Nungalka) Stanley and Tjunkaya Tapaya, Ernabella Arts (Australia)
ArtCloth from the Tiwi Islands
Aboriginal Batik From Central Australia
ArtCloth from Utopia
Aboriginal Art Appropriated by Non-Aboriginal Artists
ArtCloth from the Women of Ernabella
ArtCloth From Kaltjiti (Fregon)
Australian Aboriginal Silk Paintings
Contemporary Aboriginal Prints
Batiks from Kintore
Batiks From Warlpiri (Yuendumu)
Aboriginal Batiks From Northern Queensland
Artworks From Remote Aboriginal Communities
Urban Aboriginal ArtCloths
Western Australian Aboriginal Fabric Lengths
Northern Editions - Aboriginal Prints
Aboriginal Bark Paintings
Contemporary Aboriginal Posters (1984) - (1993)
The Art of Arthur Pambegan Jr
Aboriginal Art - Colour Power
Aboriginal Art - Part I
Aboriginal Art - Part II
Background
The 26th of January was the day when the British landed in Australia in 1788. The arrival of the First Fleet of British ships at Port Jackson (NSW) saw the raising of the Flag of Great Britain at Sydney Cove by Governor Arthur Phillip.
Most of the aboriginal population in Australia see today as invasion day or survival day - the day when racism began in Australia, the day when they were slaughtered (see what the Brits did to Tasmanian Aboriginals), the day when the British herded them like cattle into missionaries, the day when aboriginal children were stolen from their families, and the day when their land was stolen by the British invaders.
It is a divisive day in Australia with white supremacist groups hating the fact that more and more Council's in Australia, such as Fremantle City Council, refuse to hold citizenship ceremonies on that day! Our current Prime Minister, Scott Morrison, agrees with these white supremacist groups, and wants to force Council's to hold citizenship ceremonies on the 26th of January, even though opinions about Australia day citizenship ceremonies are still strongly divided in our community. If 40% of the voting population was aboriginal, I doubt he would hold such a view.
Many years ago, I wrote a post - A National Flag – In An Australian Context in which I designed a new Australian flag, not to divide our nation, but rather to unite our nation and more importantly, to recognise the 50,000 to 60,000 years of continuous Aboriginal occupation of this great Southern Land and so pay homage to a people who have enabled the rest of us to have an independent and unique voice in this world and to remove from us the need to be anything other than ourselves - Australians - no matter what our heritage, our creed or our colour.
Marie-Therese Wisniowski's design of a new Australian Flag.
It is only fitting that today I have published a post that celebrates the wearable art designed and/or made by Aboriginal women. I hope you enjoy it! Long live the Aboriginal Culture that makes our voice truly unique in this world!
Introduction
Aboriginal organizations – such as Desart in Alice Springs (Australia) - have sought to license aboriginal textile designs in order to promote and to place their textile designs into the mainstream of the wearable art market[1].
The induction of Aboriginal women into the fabric arts was a result of special training programs, which were often generated by Aboriginal women centers and supported by Federal and State/Territory Government funding. For example, such notable fabric teachers and art coordinators as Linda Jackson, Eileen Farrelley, Ray Young and Kathy Barnes (to name a few!) gave or created adult education classes in order to generate a core of Aboriginal textile-based wearables[1].
In the 1990s more formal and regular training became accessible. In 1996, Penny Watson from the Batchelor Institute of Indigenous Tertiary Education - Batchelor Institute - conducted workshops in hand painting, and printing silks using fiber-resist dyes. By the close of the 20th Century, screen-printing, batik, hand-printing and hand-painting were practiced in Aboriginal Art and Craft Centers across the Northern Territory (Australia) and the northern edge of South Australia[1].
Aboriginal communities in the Northern Territory and Northern Edge of South Australia.
Courtesy reference [1].
The textile wearables of the Central and Northern Australian Aboriginal women reflect their art markings, in the past usually reserved for body art, sand art or other media employed in traditional Aboriginal ceremonies.
The Wearable Art Of Northern and Central Australian Aboriginal Woman
Shirt - Ernabella Trading Company.
Screen-printed Cotton.
Courtesy of reference[1].
A dress designed by Earnabella Trading Company.
Screen-printed Cotton.
Modelled by Desart Employee Amelia Forrester.
Courtesy of reference[1].
Ernabella Trading Company.
Screen-printed Cotton.
Modelled by Amelia Forrester.
Courtesy of reference[1].
Bush Coulture, Sydney.
Designer – Linda Jackson.
Creators: Barbara Kngwarray, Lilly Sandover Kngwarray, Gloria Ngal, Hilda Cookie Menmatwek Pwerl, Joy Petyarr, Unknown (Utopia Costume 1982).
Batik On Cotton, Batik On Silk.
Courtesy of reference[2].
Wrap Around Skirt, Hilda Cookie Menmatwek Pwerl.
Batik On Silk.
Courtesy of reference[2].
Wrap Around Skirt, Hilda Cookie Menmatwek Pwerl.
Batik On Silk.
Courtesy of reference[2].
Wrap Around Skirt, Gloria Ngal.
Batik On Silk.
Courtesy of reference[2].
Jeans - Gloria Ngal.
Batik On Cotton.
Courtesy of reference[2].
Shirt - Emily Kam Kngwarray.
Batik On Cotton.
Courtesy of reference[2].
Trousers - Emily Kam Kngwarray.
Batik On Silk.
Courtesy of reference[2].
T-Shirt - Margret Napangardi Lewis.
Batik On Cotton.
Courtesy of reference[2].
T-Shirt - Peggy Napurrurla Poulson.
Batik On Cotton.
Courtesy of reference[2].
T-Shirt - Peggy Napurrurla Poulson.
Batik On Cotton.
Courtesy of reference[2].
Shirt - Nyukana Baker,
Batik On Cotton.
Courtesy of reference[3].
Shirt - Gloria Tamerr Petyarr,
Batik On Silk.
Courtesy of reference[3].
Shirt - Emily Kam Kngwarray.
Batik On Cotton.
Courtesy of reference[3].
References:
[1] J. Ryan and R. Healy, Raiki Wara, National Gallery of Victoria, Melbourne (1998).
[2] J. Ryan et al., Across The Desert – Aboriginal Batik from Central Australia, Council of Trustees of the National Gallery of Victoria, Melbourne (2008).
[3] Compiled by Mary-Lou Nugent, Editor Christine Bruderlin, Putting In The Colour - Contemporary Aboriginal Textiles, Jukurrpa Books, Alice Spring (2000). ISBN 1 86465 028 1
For your convenience I have listed below other posts on Australian aboriginal textiles and artwork.
Untitled Artworks (Exhibition - ArtCloth: Engaging New Visions) Tjariya (Nungalka) Stanley and Tjunkaya Tapaya, Ernabella Arts (Australia)
ArtCloth from the Tiwi Islands
Aboriginal Batik From Central Australia
ArtCloth from Utopia
Aboriginal Art Appropriated by Non-Aboriginal Artists
ArtCloth from the Women of Ernabella
ArtCloth From Kaltjiti (Fregon)
Australian Aboriginal Silk Paintings
Contemporary Aboriginal Prints
Batiks from Kintore
Batiks From Warlpiri (Yuendumu)
Aboriginal Batiks From Northern Queensland
Artworks From Remote Aboriginal Communities
Urban Aboriginal ArtCloths
Western Australian Aboriginal Fabric Lengths
Northern Editions - Aboriginal Prints
Aboriginal Bark Paintings
Contemporary Aboriginal Posters (1984) - (1993)
The Art of Arthur Pambegan Jr
Aboriginal Art - Colour Power
Aboriginal Art - Part I
Aboriginal Art - Part II
Background
The 26th of January was the day when the British landed in Australia in 1788. The arrival of the First Fleet of British ships at Port Jackson (NSW) saw the raising of the Flag of Great Britain at Sydney Cove by Governor Arthur Phillip.
Most of the aboriginal population in Australia see today as invasion day or survival day - the day when racism began in Australia, the day when they were slaughtered (see what the Brits did to Tasmanian Aboriginals), the day when the British herded them like cattle into missionaries, the day when aboriginal children were stolen from their families, and the day when their land was stolen by the British invaders.
It is a divisive day in Australia with white supremacist groups hating the fact that more and more Council's in Australia, such as Fremantle City Council, refuse to hold citizenship ceremonies on that day! Our current Prime Minister, Scott Morrison, agrees with these white supremacist groups, and wants to force Council's to hold citizenship ceremonies on the 26th of January, even though opinions about Australia day citizenship ceremonies are still strongly divided in our community. If 40% of the voting population was aboriginal, I doubt he would hold such a view.
Many years ago, I wrote a post - A National Flag – In An Australian Context in which I designed a new Australian flag, not to divide our nation, but rather to unite our nation and more importantly, to recognise the 50,000 to 60,000 years of continuous Aboriginal occupation of this great Southern Land and so pay homage to a people who have enabled the rest of us to have an independent and unique voice in this world and to remove from us the need to be anything other than ourselves - Australians - no matter what our heritage, our creed or our colour.
It is only fitting that today I have published a post that celebrates the wearable art designed and/or made by Aboriginal women. I hope you enjoy it! Long live the Aboriginal Culture that makes our voice truly unique in this world!
Introduction
Aboriginal organizations – such as Desart in Alice Springs (Australia) - have sought to license aboriginal textile designs in order to promote and to place their textile designs into the mainstream of the wearable art market[1].
The induction of Aboriginal women into the fabric arts was a result of special training programs, which were often generated by Aboriginal women centers and supported by Federal and State/Territory Government funding. For example, such notable fabric teachers and art coordinators as Linda Jackson, Eileen Farrelley, Ray Young and Kathy Barnes (to name a few!) gave or created adult education classes in order to generate a core of Aboriginal textile-based wearables[1].
In the 1990s more formal and regular training became accessible. In 1996, Penny Watson from the Batchelor Institute of Indigenous Tertiary Education - Batchelor Institute - conducted workshops in hand painting, and printing silks using fiber-resist dyes. By the close of the 20th Century, screen-printing, batik, hand-printing and hand-painting were practiced in Aboriginal Art and Craft Centers across the Northern Territory (Australia) and the northern edge of South Australia[1].
Courtesy reference [1].
The textile wearables of the Central and Northern Australian Aboriginal women reflect their art markings, in the past usually reserved for body art, sand art or other media employed in traditional Aboriginal ceremonies.
The Wearable Art Of Northern and Central Australian Aboriginal Woman
Screen-printed Cotton.
Courtesy of reference[1].
Screen-printed Cotton.
Modelled by Desart Employee Amelia Forrester.
Courtesy of reference[1].
Screen-printed Cotton.
Modelled by Amelia Forrester.
Courtesy of reference[1].
Designer – Linda Jackson.
Creators: Barbara Kngwarray, Lilly Sandover Kngwarray, Gloria Ngal, Hilda Cookie Menmatwek Pwerl, Joy Petyarr, Unknown (Utopia Costume 1982).
Batik On Cotton, Batik On Silk.
Courtesy of reference[2].
Batik On Silk.
Courtesy of reference[2].
Batik On Silk.
Courtesy of reference[2].
Batik On Silk.
Courtesy of reference[2].
Batik On Cotton.
Courtesy of reference[2].
Batik On Cotton.
Courtesy of reference[2].
Batik On Silk.
Courtesy of reference[2].
Batik On Cotton.
Courtesy of reference[2].
Batik On Cotton.
Courtesy of reference[2].
Batik On Cotton.
Courtesy of reference[2].
Batik On Cotton.
Courtesy of reference[3].
Batik On Silk.
Courtesy of reference[3].
Batik On Cotton.
Courtesy of reference[3].
References:
[1] J. Ryan and R. Healy, Raiki Wara, National Gallery of Victoria, Melbourne (1998).
[2] J. Ryan et al., Across The Desert – Aboriginal Batik from Central Australia, Council of Trustees of the National Gallery of Victoria, Melbourne (2008).
[3] Compiled by Mary-Lou Nugent, Editor Christine Bruderlin, Putting In The Colour - Contemporary Aboriginal Textiles, Jukurrpa Books, Alice Spring (2000). ISBN 1 86465 028 1
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