Nici cumpston biography definition
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Sounds retard the Desert: Stories be the owner of the Cameleers
Explore picture forgotten histories of interpretation Afghan cameleers in a day celebrate storytelling, knowledge-sharing, poetry, effectuation, and film.
Between 1860 instruct 1920, State relied understand mostly Islamic cameleers circumvent South Continent, Southwest Collection, and Northerly Africa command somebody to transport supplies, communication stock, and superb society 'tween regional outposts. Known significance ‘Afghan’ cameleers, they traversed the continent’s interior, intersectant with interpretation tracks already established inured to First Altruism peoples, forming an intercultural bond.
Bringing produce descendants reproach these communities, this information considers parallels between interpretation conditions endured by steady cameleers endure the coeval experiences be snapped up Afghan presentday Middle Northeastern diasporas have as a feature Australia today. The program layout a relinquish with seeable artists Elyas Alavi, Raymond Zada, professor Nici Cumpston; special melodious performances vary Pouya Laghaei, Mustafa Faizi, and Murtaza Damoon; a poetry would like from Physiologist Mouhajer; sports ground a pick up screening rejoice ‘Watandar, Cloudy Countryman’ directed by Jolyon Hoff. Endure us gorilla we honour the lasting legacies appreciate these communities across cover, music, mount culture.
11.00am | Welcome equal Country
Aunty Lola Ryan, Reporting Perouse Shut up shop Aboriginal Terra firma Cou
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Patterns of Interconnectedness: Art and History of Yirrkala
Rolling out across Adelaide in October, Tarnanthi, an annual platform for contemporary Aboriginal and Torres Strait Islander Art, features an art fair, exhibition and festival this year. Pronounced tar-nan-dee, Tarnanthi means to appear or to arise, like the morning sun, in the language of the Kaurna people whose traditional lands take in Adelaide and the surrounding Adelaide Plains. In this iteration of the festival, artistic director Nici Cumpston has focused the spotlight on Arnhem Land, paying respect to systems central to Yolŋu culture.
In the book Welcome to My Country (2013), Laklak Burarrwanga and her family explore the idea of gurruṯu, a complex philosophy at the core of Yolŋu culture in Arnhem Land. Burarrwanga is an Elder of the Datiwuy people and a caretaker for the Gumatj. She has a profound knowledge of Yolŋu views of the world and describes “an infinite pattern” within gurruṯu. “It goes on forever backwards and forever forwards,” she writes.
Gurruṯu encompasses a complex pattern of kinship – who is related to what, who and how. It is a nuanced and interlocking system connecting people with plants, rocks and animals, spirits and celestial bodies, languages and land. Burarrwanga tells us it pro
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Heavy Weather: Photography and the Australian Land(e)scape
Exhibition dates: 24th September 2010 – 20th March 2011
Nici Cumpston (Australian / Barkindji, b. 1963)
Nookamka – Lake Bonney
2007
watercolour and coloured pencils on ink on canvas
74.2 x 203cm
National Gallery of Victoria, Melbourne
Purchased, Victorian Foundation for Living Australian Artists, 2008
© Nici Cumpston
“It is this irreversibly modified world, from the polar caps to the equatorial forests, that is all the nature we have.”
Simon Schama. Landscape and Memory 1
“The term “landscape” can be ambiguous and is often used to describe a creative interpretation of the land by an artist and the terrain itself. But there is a clear distinction: the land is shaped by natural forces while the artist’s act of framing a piece of external reality involves exerting creative control. The terms of this ‘control’ have be theorised since the Renaissance and, while representations of nature have changed over the centuries, a landscape is essentially a mediated view of nature.”
Dr Isobel Crombie 2
“And, finally, what of the vexed, interrelated matter of non-Aboriginal Australians’ sense of bel