Culture + Ceremony

‘Aboriginal and Torres Strait Islander artists look to these earlier depictions for inspiration, or mine the archives to reclaim their experience and cultural knowledge and draw attention to the more horrendous and hidden aspects of Australia history. Their works also highlight ongoing cultural practices, as well as those that have been taken or have disappeared.’
Ceremony is an integral practice for many First Nations cultures. It can be used to connect and pay respect to Country, ancestors, living community, and self-identity. Art continues to be used to record and immortalise these ceremonies and revitalise lost practices. Artmaking also presents the opportunity to intertwine cultural practice with societal issues and barriers facing First Nation people. Power is drawn from using ceremony to protest the dangers facing ceremony and First Nations culture.
Adhaz Parw Ngoedhu Buk
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Alick Tipoti, Maluilgal nation, Kala Lagaw Ya people, Adhaz Parw Ngoedhe Buk, 2008, National Gallery of Australia, Kamberri/Canberra, purchased 2009 Courtesy of the artist and the Australian Art Print Network
‘The core of our culture, or any culture is the language. Maybe one day the language will fade, however, the practical side of art will continue. That fire will continue to burn. That’s why I tie the visual art with the performing arts, to keep that cultural fire burning. The songs preserve the language and the language tells the story of the art.’
On the shores of Badhu Island in the Zenadth Kes/Torres Strait, generational ceremonies continue to venture into new mediums, practices, and performances. Alick Tipoti, Kalaw Lagaw Ya people, is a Torres Strait Islander artist who stands at the forefront of these ambitions, bringing new protocols to his community, whilst maintaining the importance of those who came before him. Alick says it is important to his practice that, “we continue to compose and choreograph rather than just sing the old songs and dance the old dance”.
Adhaz Parw Ngoedhe Buk, 2008, is a sculptural work of art reimagining culture of the Zenadth Kes. The rusted metal headdress, featuring an endemic frigate bird, lays atop a plinth of the same material. The mask draws from the Zenadth Kes ceremonial practice of headdress making and wearing and connects to ongoing societal issues.
The experimental use of rusted metal was inspired by cultural customs. Alick says, “it is against cultural protocol for us to catch turtles specifically to make a living out of it… to commercialise and sell it as art”. To maintain this practice, Alick used rusted steel and pearl shell to achieve a similar tonal effect as turtle shell within the sculpture.
Research
For Zenadth Kes people, rising sea levels and climate change threaten their connection to Country and ceremony. As climate change continues, all First Nations communities become increasingly vulnerable to losing Country and culture due to man-made climate change.
Do some research into what types of plants, animals, and land features your local First Nations community are connected to.
How is climate change damaging the health of these plants, animals, and land features?
Are these life forms endangered? Extinct?
What kind of practices are required to bring these life forms back to full health? Are they First Nations land practices?
Mulanggari Yur-Wang (Alive and Strong)

Dr Matilda House and Paul Girrawah House, Ngunnawal/Ngambri/Walgalu/Wallaballooa/Gundungurra/Wiradjuri peoples, Mulanggari yur-wang (alive and strong), 2021–22, commissioned by the National Gallery of Australia, Ngambri/Kamberri/Canberra for the 4th National Indigenous Art Triennial: Ceremony, purchased 2021, image courtesy and © the artists
‘Trees help anchor our identity and belonging to Country – they hold knowledge, nurture, and maintain the wellbeing of our people, plants, and animals. Trees help maintain lore and custom. The old growth trees in Parliamentary Triangle help keep the peace. They are our physical and spiritual guardians.’
Uncle Paul Girrawah House, Ngunnawal/Ngambri/Walgalu/Wallaballooa/Gundungurra/Wiradjuri peoples, is an Elder and artist who centres custodianship at the heart of his practice. He says that the health of Country and culture rely upon ceremony and lore. In Kamberri/Canberra, Uncle Paul says that “Parliament House was built on broken law”. He says that construction of the nation’s capital was done without consultation with Traditional Owners of the region. Throughout Australia, colonisation has failed to maintain local law.
Mulanggari yur-wang (alive and strong), 2021-22 is a major installation that spans across the National Gallery’s Sculpture Garden. Tree scarring is an enduring cultural practice which involves removing the outer bark layer of a tree, which can be used as shields or coolamons. The scar left on the tree, in the inner bark, is carved with designs from Ngunnawal and Ngambri culture. The scar slowly heals over and becomes a site of cultural importance.
Carving into the inner bark of the scar trees is a practice that helps heal sickness caused by the broken law. Several scar trees sit within the Parliamentary Triangle, which Uncle Paul says, “reclaim Ngambri Country, identity, and provenance”. He says, “the marking of trees standing strong on Country puts the Australian Government on notice about speaking the truth, a reminder and prompt to respect everything living and growing”.
Reflect
Uncle Paul House says that having scar trees near Parliament House puts the Australian Government on notice. Having and demanding presence is an integral form of lobbying and protesting social issues.
What are some of the ways you’ve seen people have a presence within protest?
Have you had a presence?
If you were to choose a social/political issue to have a presence in, which would you choose?
How would you display that presence?
Create
Building off the previous reflection activity, choose one social/political issue to bring the Government’s attention.
Create a large-scale protest poster to call attention to your chosen issue.
Develop a snappy slogan, powerful colours, and eye-catching visuals to make sure your poster stands out from the crowd!