‘birrarung willam’ – (river camp); gulpa ngawul – deep listening

This Artwork is a Story about a place of ‘deep listening’:

-A story of a gathering place;

-A story of connection and community;

-A story of diversity and unity;

-A story of the Wurundjeri, the Boonwerrung and all the tribes of Victoria

-A river story;

This story is about a place. It is place that many people pass through and many more linger awhile, to sit and contemplate, or to play. It is a place of ‘deep listening’(gulpa ngawul- yorta yorta for deep listening); a space to learn and to listen with your Spirit.

The story begins with a Welcome to Country in the form of message sticks

(kaarratpeeteen) placed around the site to invite and welcome visitors. The journey begins in this correct and appropriate manner. The story continues with a contemporary re-creation of a traditional ‘sitting down’ place; a mound campsite (puulwuurn). The notion of a campsite is central to Aboriginal cultural life.

The short finned eel (kuuyang) evolves from larvae - elver - full grown eel, throughout its life journey; teaching us about growth and transformation. The pathway is representative of the eel swimming from site to site, traversing the eel traps set up across the river and symbolic of its migratory journey from its spawning grounds in the Coral sea, to its parents home place. This teaches us about belonging and connection to Place. The eel has a strong significance to Aboriginal people as a primary food source. An eel trap and weir were used at the William St. falls site and relate to the overall concept of a campsite and living. This element links the other elements of the site.

The concrete pathway, cutting through the site, moves in a straight line, overlaying and dominating the Country; signifying the presence and emulating the actions of the imposed Western/ Anglo culture. The crossing and overlap of these elements portrays the direct contrast and conflict of their relationship with each other; the Western culture and concept of ownership of Land juxtapose the Aboriginal Spirit of connection and belonging to Land. This facing off of differing cultural mores and values and in particular, the issue of Land Rights, Land equity and justice is symbolized through the contrast of the two pathways.

The river, adjacent to this site, was made from the actions of the Ancestors in the Creation times. It is the vessel (vein or artery) carrying water; the lifeblood of the Land. Water is essential to our survival. The significance and importance of water will be demonstrated through two sculptural works situated on the mound. These works will be a burl bucket and bark water trough used in campsites to carry and store water.

As the mound is the female energy, shields and spears will represent the masculine; the men who are the protectors and defenders of their families and Lands. Five shields and spears representing the five nations of the Kulin stand as sentinels and guardians of the site. Grouped together as a sign of strength and unity, in ‘steel’ resolve, protecting their families and Lands.

Stories – stories from across Victoria

‘karraparr biganga’ (possum cloak- keerray wurrong, possum cloak- yorta yorta)

Possum skin cloaks were used in daily living in south eastern Australia for warmth and protection. They were made from the skin of the brushtail possum. Skins were stretched and tanned; incised with markings; sewn together with bone awls and kangaroo sinew. Some cloaks used up to 50 or more skins.

The markings are significant and relate to clan and Country association, denoting where the wearer was from, who they were related to and told of places/sites in Country. In this way cloaks were records; stories and information were held in the designs, like the wearer, who was a living repository and record keeper of knowledge. In this element if you touch a panel you hear story from an Aboriginal person.

Corroborree Ground/ Ancestor Stones - Nine, huge, 3-4 metre high, 15-20tonne, bluestone boulders are the form representing the Creation Ancestors of the Kulin Peoples. Bunjil is the Creator. He was assisted by one of his wives, Ganawarra the black swan, his son Binbeal the Rainbow, and he summoned 6 young men to help carry his message, the stories and laws, across the Land. The six young men are Djurt-Djurt the nankeen kestrel, Thara the black shouldered kite, Yukope the great parakeet, Danun the blue mountain parrot, Tadjeri the brushtail phascogale and Turnung the feather tail glider.

The Ancestor Stones have an awesome and inspiring presence. They carry the sense of completion and ageless timelessness to full realization within the whole conceptual framework of the site. They are the guardians and sentinels overlooking this space and the camp ground and giving their blessing to those who enter this arena.

The Stones, with their etched designs, cause those in the vicinity to experience the formidable sense of the vast and unfathomable depth of the ‘ancient’ beginnings of this Country; of being in the presence of Ancestor Beings; feel the strength of the Spirit of the Land; the Other Worlds, the Dreaming…

This artwork embraces the ‘old’ and integrates the new to create a ‘commemorative place’ – a place to remember the ‘old ones’, to honour traditions – the ‘old ways’; and to celebrate, share and walk forward together in the ‘new ways; the contemporary life of today.

It is about reclamation; of regeneration and revitalisation of the original purpose of this site: that is to be a campsite and meeting place, a place of gathering for family and community; a place of reconciliation for peoples of all cultures.

The story and project elements illustrate our collective (Aboriginal Victoria) story of connection to Country and Place. It gives commemoration and emphasis to Aboriginal Victoria whilst honouring the place of the Kulin Nations as the traditional custodians. The nature of the site in turn, will celebrate the diversity of nations in the present times and reflect the global village of the future. This Proposal brings together the past, present and the future.