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Dr Gondarra's message is for all Australians

6/2/2020

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Dr Gondarra wants to see a day where all Australians can celebrate the birth of a nation. Photo Tree Faerie.

Eve Jeffery

This article first appeared in The Echo in January 2020

Survival Day in Byron Bay played host to a very special visitor when the Rev Dr Djiniyini Gondarra, a senior Yolngu man of the Dhurilli clan nation of Northeast Arnhem Land in the Northern Territory, spoke to the crowd gathered on Main Beach.
Dr Djiniyini Gondarra has spent much of the last 50 years of his life as a civil rights activist for his people.
From his early years he has walked gracefully in two worlds as a Yolngu lawman, spiritual leader, freedom fighter and community leader.
Picture Four-year-old Rahim with his big brother Djiniyini in the Yolngu kinship system. Photo Tree Faerie.
A day that everyone can celebrate
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Dr Gondarra believes that the day Australians celebrate being Australian should be a day that everyone can celebrate, not a day that Indigenous people are in mourning. ‘The 26th of January, this “Australia Day” we are being asked to celebrate the day Captain Phillip came and put that flag here? For us, this is the invasion day.
'I would like to see them change the date so that we can celebrate something about mourning and how we lost our great people.
'Then, I would love to see them choose another date for Australia Day when we all, whether we are Aboriginal or white or anyone who has been naturalised an Australian, can celebrate the birth of a nation, when the seven colonies came together: January 1.

Land Rights Act designed to divide
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Dr Gondarra says he wants to see a way that Indigenous people can make a treaty with the government but believes many of the obstacles are seated in the Land Rights Act and that only people from certain parts of country can be recognised on that country.
'In this area here there are the Arakwal, the Bundjalung and you are all allies but there is a particular clause in the Land Rights Act that says in this country here, only Arakwal people can be recognised here, not somebody else. That’s written in there. That’s a divide and conquer, because, if you are allies you are stronger.’
Dr Gondarra says the way Aboriginal people work is to have allies – there are pathways to visit another nation and enter into a treaty with them.
’We enter a parley system to do business, we sell something to them and they sell something to us – there is a pathway. That’s what it’s about. What I am trying to do is find a way that the government can come and sit with us, parley with the elders of all the nations – forget about land councils, forget the people that the government have “shaped” and we are told “this is your leader”. No! This is not my leader. You shape them and give them to us. No! They are not our leaders, we didn’t chose them – send the government diplomats to talk to us, to the elders, to our chosen leaders.’

A new film made with people power
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Dr Gondarra is set to make a new documentary with local film director Sinem Saban who has worked closely with him for the last 12 years, in particular for her first documentary Our Generation.
Ms Saban and Dr Gondarra are joining forces again for a new project, Luku Ngarra, which Saban says will not only celebrate the humble yet profound life of Dr Gondarra, but also his vision and wisdom for a better Australia.
‘This film is a sign of the times more now than ever,’ says Ms Saban. ‘But it would have been just as relevant 10 or 20 years ago, it’s just that perhaps audiences might not have been ready to actually stop and listen to the message back then.
‘Many people now are witnessing the faults of the colonial ideology we live under, the cracks are expanding. And I don’t just refer to what we have done to the environment, but also to the way our so-called democratic government system is a shambles, how we can wage a war at the drop of a hat or how the patriarchy treats women.
‘Indigenous culture and law has a lot to teach us about these things. Women are revered just as mother earth is, and priorities are not with warmongering but with societal cohesion and balance.
PictureDr Gondarra met with local Arakwal, Bundjalung woman Delta Kay on Saturday to talk about treaty and days of celebration and days of mourning. Photo Tree Faerie.
We need to listen to our Indigenous people

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‘I can’t think of any other people that we need to be listening to right now other than our Indigenous people. More so than scientists and academics.'
Ms Saban says she is forever humbled and honoured to have the trust of her Yolngu family to make this film. ‘I don’t take it lightly. I think it is imperative that when non-indigenous film-makers make films about them that they are involved in every step of the process. They are the executive decision-makers. They are the ones who make the final call. I am just the facilitator of their messages.
'If I don’t do this with full integrity, I run the risk of doing more damage than good. I am driven to make more educational resources for our classrooms, lounge rooms and global community.'
Ms Saban believes wholeheartedly that funding for the film must come with no strings attached in order for the film to be made with full integrity and for this reason she and all the stakeholders have chosen to crowdfund. ‘I want to demonstrate that independent film and media is one of the most important forms of communication in our society. It is gravely at risk of being homogenised.’
Dr Gondarra, who turns 75 this week, will head home soon to continue his work forging a better Australia for all of its people.
‘I want to be a bridge-builder,’ says Dr Gondarra. ‘I want to help both sides’.

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Vale Uncle Digby Moran, artist and Bundjalung man

19/1/2020

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Digby Moran sitting in his sand sculpture for Djurra at City Hall Lismore in 2017. Photo Tree Faerie.


​David Lowe

​The popular and highly respected artist Albert (Digby) Moran died suddenly this week in Lismore at the age of 71. He is remembered as a humble, spiritual and selfless man, always with a ready smile and words of encouragement for young people.

Digby was born in Ballina in 1948. His mother was a Bundjalung woman and his father Dunghutti.

Young Digby spent his formative years in the mission community of Cabbage Tree Island, in the midst of the Richmond River, between Broadwater and Wardell in northern NSW. Surrounded by a large, supportive family, he remembered his childhood on the river as an idyllic time.

At sixteen he left to work as a cane cutter and then as a boxer with Jimmy Sharman's travelling troupe, following in the footsteps of his father Teddy, who had been a heavyweight champion of the north coast. Digby also played rugby league for Lower Woodburn.

After the relationship with the mother of his children collapsed, alcohol and cigarettes took a great toll on Digby's health. It was only when he managed to give up both substances that he started painting seriously.

His first step was an art course at Ballina TAFE in 1991, but it was 'too European' so Digby started to create art in his own cultural style.

'Painting gives me great pleasure and brings me peace,' he said. 'It is a way for me to tell the stories that were told to me by my grandparents and elders when I was growing up.'

Digby's work soon brought him acclaim in the Northern Rivers and then beyond.

In 1995 he had his first work selected for inclusion in the Telstra National Aboriginal and Islander Art Awards in Darwin. Digby exhibited in this competition multiple times, winning the People's Choice Award in 2000 for 'Mullet Spawning'.

In 1998 a cabinet made by Evans Head craftsman Kristin Crisp and painted by Digby won the open art section at the Southern Cross Art Award.

Digby exhibited in numerous group exhibitions at Boomalli Aboriginal Artists Cooperative in Sydney, Fireworks Art Gallery in Brisbane and Berlin Aboriginal Art Gallery in Germany. In 2002 he showed at the New Media Gallery in Vienna, Austria.

In 2004 his work was part of the exhibition 'Energy of the Earth' at Germany's Museum Hamelyn.

In 2009 Digby temporarily became a 'Living Book' as part of the Human Library project at the Lismore Library. He always enjoyed talking to people and breaking down stereotypes.

A travelling Australia Day ambassador for many years, in 2010 he had a solo show at the NSW Parliament.

Despite his growing fame, Digby Moran remained firmly connected to his own country. 'You’ll never catch me painting things like barramundi or crocodiles,' he said. 'Water is a big part of all Bundjalung Dreaming. I have always been a saltwater man.'

With his studio based in Lismore, Digby was an important contributor to numerous shows in his own region, including at Lismore Regional Gallery and Tweed Regional Gallery. Both galleries acquired his work.

Country was very important to Digby Moran. In a 2013 interview he said 'I love walking around the coast especially at Goanna Headland, Evans Head, just to feel the energy of the place.'

Traditional carved trees and shields from the region informed Digby's art practice, particularly the distinctive interwoven diamond shapes of his ancestors.

In addition to his gallery projects, Digby was an active public artist, with well-known large scale works including 'Someone's Always Watching You' outside Ballina Woolworths, an 85 metre mural inspired by the local natural environment at the Goonellabah Sports and Aquatic Centre, and a major temporary sand sculpture, made in conjunction with Richard Clarke, on the grass outside Lismore's City Hall coinciding with NORPA's production Djurra in 2017.

It was during that year that Digby's home studio was devastated by the Lismore flood, with many of his current and past works destroyed by the mud and swirling waters. Undaunted, he went straight back to painting and transmuted the flood disaster into new art, reflecting on the swimming, camping and fishing of his childhood.

Gallery director Brett Adlington recalls that Digby's 'infectious laughter and smile would erupt under his curls with these memories'.

In 2018 a major solo show of this new work opened at Lismore Regional Gallery. 'Growing Up On The Island' became the most highly attended exhibition in the Gallery's history, apart from the Archibalds, indicating the special place Digby occupied in his community's heart.

But there was more to Digby Moran than his exhibitions.

Guided by what he described as spiritual instruction, Digby devoted a lot of energy to teaching children of all ages about art and creativity, both in Australia and the UK.

He also worked in drug and alcohol rehab at Namatjira Haven in Alstonville, showing others how art can help find a way out of the darkness, as it had done for him.

As news of Digby Moran's death spread, social media was flooded with memories from those who knew and were touched by the artist in different ways.

Mungo MacCallum wrote, 'A huge loss. His work has given us enormous pleasure over the years. We bought a few minor pieces and should have bought many more. In particular, while waiting for treatment for cancer at Lismore Base his great work was a genuine comfort – confirmation that life was worth living. Vale indeed.'

Film-maker Karenza Ebejer, who made a documentary accompanying Digby's final solo show at Lismore, said she was 'so sorry to hear of the passing of a great artist, Uncle Digby, who shared his life spirit with us through his canvas. My life is richer for having met him and hearing his story.'

Digby's partner Kerry Kelly said she was devastated by his loss. 'He is loved by so many people and will be sorely missed. Thank you all for supporting him.'

The Lismore Regional Gallery has opened a special display of work honouring Digby's artistic legacy, including a condolence book which visitors are welcome to use to share memories with his family.

People are also leaving flowers in the metalwork of Digby's Ballina artwork.
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Digby Moran leaves behind three daughters, a son and many much-loved grandchildren and great-grandchildren.

​The Northern Rivers community will not be the same without him.

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Native Title – what local recognition means

13/12/2019

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Eve Jeffery

This editorial first appeared in The Echo in May 2019

After last week’s news that the Federal Court recognised the Native Tile of the Bundjalung People of Byron Bay, the Arakwal-Bumberbin, many are wondering what this means in terms of day-to-day life in the Byron Shire.

Australian law has recognised Aboriginal and Torres Strait Islander Native Title since the historic Mabo case in 1992.
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Native title is the recognition by Australian law that the Indigenous people, who were the traditional owners of an area prior to 1788, have ongoing rights and interests in land, seas, and waters that derive from their traditional laws and customs…READ MORE
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If it’s not your birthright, then it’s not yours

13/12/2019

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Eve Jeffery

​This article first appeared in The Echo in February 2019

Native American tribes consider the presentation of an eagle feather to be one of their highest marks of respect. A recipient would earn the feather through selfless acts of courage and honour, or be gifted them in gratitude for their work or service to their tribe.
The medicinal use of cacao originated among the Olmec, Maya, and Mexica (Aztec) peoples. It is sacred.
Didgeridoo healing is an ancient method – very few today know its true secrets.
Cultural appropriation is not cool. No, it’s not cool to get pissed and wear a war bonnet to a music festival; unless you are the product of generations of Mexicans, and no, you cannot make cacao medicine; and unless all of your ancestors were born on this country, it is not your place to put a didgeridoo on someone’s chest…READ MORE
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NAIDOC: Breaking down the ‘us’ and ‘them’

13/12/2019

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Eve Jeffery

This article first appeared in The Echo July 2014

There are few who would disagree that Arakwal woman Yvonne Stewart is a strong, intelligent woman who is a role model for indigenous people, in particular, Aboriginal girls.
This assumption is flawed in that Yvonne is actually a strong, intelligent woman who is a role model for all people regardless of race and, in particular, a wonderful example to all girls regardless of nationality or creed. And there’s the rub for reconciliation.
Too often white fellas, in their ‘tolerance’ of the first peoples, relegate Aboriginal Australians to a ‘them and us’ status as a nation and a people. White Australia, in its rush to fall over itself over-compensating for the horrors of the past, is missing the point: we can only be reconciled when we are one body of humanity.
It has become a habit in recent years for the worst type of separation to happen and it is not helping the ‘Aboriginal problem’…READ MORE
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