# data[].title
Painting on card, in the style of a bark painting, depicting three fish, three rays, a turtle and two snakes, by Liyawulumu

# data[].physicalDescription
A painting on card depicting three fish, three rays, a turtle, and two snakes. One fish is ochre with brown and white gills and banding, and the other two are black with white gills and banding. The rays are predominantly ochre, and two have black bodies. The turtle is brown and ochre with white outlines. One snake is ochre with brown and white banding around the neck, the other is black with white banding around the neck and body. The background of the painting is composed of white, ochre, brown and black triangular, dot, and cross hatched designs.

# data[].spatial[].title
Yirrkala, East Arnhem Land, Northern Territory, Australia

# data[]._meta.copyright
Copyright National Museum of Australia / CC BY-NC

# data[].title
Painting on card, in the style of a bark painting, depicting two possums and black pole tapered at one end, by Mithali

# data[].physicalDescription
A painting on card, depicting two possums and a central pole tapered at one end. The pole is painted black with white outlines, and the possums are painted black with ochre bands around their necks and tails which are outlined in white. The background is in-filled with ochre, brown, black and white cross hatched and line designs.

# data[].spatial[].title
Yirrkala, East Arnhem Land, Northern Territory, Australia

# data[]._meta.copyright
Copyright National Museum of Australia / CC BY-NC

# data[].title
If You Love Me Love Me Safely by Marrnyula Mununggurr

# data[].physicalDescription
Large panel of fibrous bark with two pieces of split wood joined with fishing line and grass leaf at the top. Figurative imagery of men, women and children worked across surface of the panel painted in ochre tones of red, yellow, black and white. Text 'Safe Way', 'Sad way' and 'If You love me' in the top section of the panel with figures, houses and transport (including aeroplane and car); 'CONDOMS' left of centre of the panel with two figures in bed and figures to right of centre in sexual positions; 'Love me safely' and "Help Prevent Aids" in lower section with figures grieving by coffin to right. Figures at centre in family group below trees, with house and car. Reverse with text in black marker pen 'MARRNYULA / 400YIR'.

# data[].significanceStatement
The bark painting 'If you Love Me, Love Me Safely, 2000' by , Marrynula Mununggurr was painted at suggestion of the Northern Territory Aids and Hepatitis Council. The painting was sold to raise funds for the Council's Aboriginal and Torres Strait Islander Aids and Hepatitis awareness project. The painting uses a simple graphic style that show 'the right way' and 'the sad way'.  Mununggurr had previously painted a bark with an identical message for the Northern Territory Department of Health. Posters were produced of this image which were used by health workers in the field to educate Indigenous people about using condoms to prevent AIDS and Hepatitis. 

This is an extraordinary explicit piece of work that has been produced from within a culture that holds taboos about references to sexual practice. The bark painting refers to serious contemporary health issues faced by Indigenous communities and to initiatives that have been taken by various health organisations in the Northern Territory. The painting also refers to issues of displacement and loss of acess to traditional lands.

# data[].spatial[].title
Yirrkala, East Arnhem Land, Northern Territory, Australia

# data[].spatial[].title
Bathurst Island, Tiwi Islands, Northern Territory, Australia

# data[].spatial[].description
The funds raised from the sale of this work were used to support a four-year project of retreats and health clinics in the Tiwi Islands

# data[].spatial[].title
Melville Island, Tiwi Islands, Northern Territory, Australia

# data[].spatial[].description
The funds raised from the sale of this work were used to support a four-year project of retreats and health clinics in the Tiwi Islands

# data[]._meta.copyright
Copyright National Museum of Australia / CC BY-NC

# data[].title
Painted model of bark coffin, Yirrkala, 1948

# data[].collection.title
American-Australian Scientific Expedition to Arnhem Land (AASEAL) collection

# data[].physicalDescription
Hollow cylindrical bark form, joined by split cane lashing. It is decorated with pigment that forms bird shapes and geometric shapes.

# data[].spatial[].title
Milingimbi, Arnhem Land, Northern Territory, Australia

# data[].spatial[].title
Yirrkala, East Arnhem Land, Northern Territory, Australia

# data[].spatial[].title
Milingimbi, Arnhem Land, Northern Territory, Australia

# data[].spatial[].title
Yirrkala, East Arnhem Land, Northern Territory, Australia

# data[]._meta.copyright
Copyright National Museum of Australia / CC BY-NC

# data[].description
This is part of a collection of First Nations' objects and related material which Wayne and Vicky Masters acquired while working at the Mowanjum mission near Derby, during the period 1966 to 1971.

# data[].physicalDescription
A fire drill set consisting of two long pigmented cylindrical sticks held together with fibre bark, tightly bound with two-ply human hair string. In one of the sticks two holes are drilled at one end.

# data[].significanceStatement
The Gwen and Wayne Masters collection no.1 consist of fifty objects from Mowanjum mission in north-west Australia. The items in this collection include two religious books in Worora language, painting and artists equipment, boab nut carvings, wooden clapsticks, animal parts (turtle), spindles, elliptical concave wooden containers, shields, elliptical wooden shield with raised handle, wooden boomerangs for hunting and fighting, four pieces of solid form red ochre, wooden spearthrower, spears  for hunting, fishing and fighting, stone tools, fighting sticks, cylindrical wooden clubs, hollow cylindrical dronepipe, bullroarer, fire drill set and cylindrical bark container with string handle.

Mowanjum, a Worowa word meaning ‘settled at last’, is an Aboriginal community located near Derby in north-west Australia.  Members of the Worowa, Ngarinyin, and Wunumbul clan groups form the majority of Mowanjum’s residents, who were brought together by missionaries in the early twentieth century at the Kunmunya Presbyterian Mission and were forcibly moved across three different locations before arriving at the present site.  Since the departure of the missionaries in the 1970s, Mowanjum has operated as an Indigenous corporation with an elected governing committee. Gwen and Wayne Masters assembled the collection while working on the Mowanjum mission from 1966 to 1971. They donated the collection to the National Museum in 1982. The collection reflects the diverse range of Indigenous objects manufactured for sale by mission residents of Mowanjum during the latter twentieth century, as well as the collecting interests of Mowanjum mission workers of the time.  The objects were highly prized by the Masters and provide material evidence of cultural practices such as traditional hunting, decorative arts, music and storytelling.

# data[].spatial[].title
Mowanjum, West Kimberley, Western Australia, Australia

# data[].spatial[].title
Mowanjum, West Kimberley, Western Australia, Australia

# data[].temporal[].description
Period that the Masters' were working at Mowanjum mission

# data[]._meta.copyright
Copyright National Museum of Australia / CC BY-NC

# data[].title
Painting on card, in the style of a bark painting, depicting fifteen figures and six winged creatures around three pronged object, by Maw Munungurr

# data[].physicalDescription
A painting on card, depicting fifteen figures surrounding a three pronged object, with six winged creatures around the edges of the painting. The pronged object, figures and winged creatures are all painted black outlined with white, and have white or brown and white banding. The background is in-filled with ochre, brown, black and white cross hatched and line designs.

# data[].spatial[].title
Yirrkala, East Arnhem Land, Northern Territory, Australia

# data[]._meta.copyright
Copyright National Museum of Australia / CC BY-NC

# data[].title
Painting on card, in the style of a bark painting, depicting figure painted black, by Roy Marika and his wife Dundunga

# data[].physicalDescription
A painting on card depicting a figure painted black with brown banding, and with an elongated penis. The figure is holding two decorated paddles by his sides, and black and yellow lines in an arc above his head. The background is composed of ochre, brown, and white cross hatched and line designs, with curved elements.

# data[].creator[].description
Attributed to 'Roy Marika and his wife Dundunga'

# data[].spatial[].title
Milingimbi, Arnhem Land, Northern Territory, Australia

# data[]._meta.copyright
Copyright National Museum of Australia / CC BY-NC

# data[].title
'Mortuary Ceremony', by Narritjin Maymuru, 1978

# data[].collection.title
Aboriginal and Torres Strait Islander Affairs Art (ATSIAA) collection no. 1

# data[].description
The central portions of this painting depict the bones of one of the creator Ancestors of the Manggalili clan.  When this Ancestor died his body washed up at the beach at Cape Shield to create a major sacred site belonging to this clan.  This central figure is surrounded by representations of the other Dreaming which travelled together and helped to create Manggalili clan lands.  The kangaroo Garrtjambal, who was chased by the Ancestral Dog to create a lake at Gundawuy south of Trial Bay, is shown in the top left hand corner of the painting.  The emus who created waterholes where they dug are shown on the left hand side of the painting along with the possums who are whon spinning their fur into sacred string.  This later transformed into a sandbank at Djarrakpi on Cape Shield.  Surrounding the central figure are two waterpythons who create clouds and rain by spitting water into the sky.  Below the central figure are the two crocodiles and stingray which created sites around Blue Mud Bay.  On the right hand side of the painting the freshwater turtle and heron are shown.  At the top of the painting a scene of a mortuary ceremony is depicted.  The Creator Ancestors are instituting the ceremony which, after their death, humans will continue to follow. [ATSIC card catalogue]

# data[].physicalDescription
A colour painting on board featuring a face at the top with two snakes positioned vertically with two burial poles, two lizards and a black stingray in between. Down the sides are animals in between them are dot and cross hatch patterns. On the reverse is handwritten that reads 'DAA 10051 / FRAME 212' The painting is mounted to a board and has a wooden frame. There is a black exhibition label attached to the backing board some of which reads 'Title Mortuary Ceremony 1978 / Artist Narritjin Maymuru ...'.

# data[].significanceStatement
The Aboriginal and Torres Strait Islander Affairs Art collection comprises 2050 artworks and other objects.  The artworks - which numerically dominate the collection - were produced by Aboriginal and Torres Strait Islander communities throughout Australia. The accumulation of these artworks into a single collection has resulted from the choices and selections made during a 38 year period by a variety of staff working for the Council for Aboriginal Affairs (CAA), the Department of Aboriginal Affairs (DAA), the Aboriginal Development Commission (ADC) and the Aboriginal and Torres Strait Islander Commission (ATSIC) at the national, regional and local levels.

The collection spans the years following the 1967 referendum, when dramatic changes in the governance of Aboriginal people took place, up to 2005 when the Aboriginal and Torres Strait Islander Commission was dissolved. It provides a snapshot of the diversity and changes in Indigenous art and its representation which occurred during the period of its formation. The small number of 'non-art' objects in the collection is also significant in providing insights into the working of the various Commonwealth bodies involved in Indigenous affairs. As well as the significance of many of the individual pieces, the collection is also significant as a whole, as a complex artefact stemming from Australia's history of governance of Australian Indigenous peoples.

# data[].spatial[].title
Yirrkala, East Arnhem Land, Northern Territory, Australia

# data[].spatial[].title
Cape Shield, Djarrakpi, north east Arnhem Land, Northern Territory, Australia

# data[].isAggregatedBy[].title
Show all objects included in the ATSIAA  collection

# data[]._meta.copyright
Copyright National Museum of Australia / CC BY-NC

# data[].title
Ceremonial hat with totemic patterns of the sea and lightning

# data[].physicalDescription
Ceremonial hat made of paper bark wound with two-ply human hair string. The semi-circle (patterning) form totemic patterns of the sea, and the straight centre is in a pattern of lightning.

# data[]._meta.copyright
Copyright National Museum of Australia / CC BY-NC

# data[].title
Glass plate negative - Fish-tail bark and dug-out canoes, Melville Island, Northern Territory, in the background, photographed by Herbert Basedow, 1911

# data[].description
Reproduced by Basedow in 'Notes on the Natives of Bathurst Island, North Australia', "Journal of the Royal Anthropological Institute", vol. XLIII, 1913, plate X/2. Caption reads: ' "Fish-tail" bark canoes and "dug-out" canoe in the distance, Apsley Strait. Melville Island in the background.'

# data[].physicalDescription
Black and white glass plate negative showing several boys/youths seated in two bark canoes and one dugout canoe on the water with ground in front and in the distance.

# data[].educationalSignificance
This is a photograph by Herbert Basedow of three canoes just offshore. The foreground two are made of bark and hold two boys each; the farthest has been dug out from a tree trunk and holds five boys. There are two paddles for each canoe. Across the water is a well-vegetated landmass.

Where there is water Aboriginal people often use watercraft. Over much of mainland Australia men made canoes out of bark, usually from a eucalypt. This photograph was taken on Melville Island. Bark canoes on Melville and Bathurst islands were distinctive in shape. They are long and thin with a supporting wooden rod on either side and characteristic 'fish-tail' ends. The canoes were used for moving between islands and for fishing.

On Melville and Bathurst islands, people used not only bark canoes but dugout canoes as well. Dugout canoes were made from the hollowed-out trunk of a softwood tree. Aboriginal people learnt to make them from Indonesian visitors who probably first came to Australia's northern shores in the mid-1700s. The canoes were propelled using wooden paddles and often sails as well. Sails were made from woven pandanus and more recently cloth.

Herbert Basedow was a doctor, anthropologist and explorer. From 1903 to 1928 he ventured to remote regions of central and northern Australia - places rarely seen by Australians even today. Aboriginal people often feature in his photographs. Basedow wanted to document Aboriginal cultures as they had been before British colonisation, and often went to some lengths to craft his photographs to appear as such.

This photograph was taken during a trip to Bathurst and Melville islands to inspect the health of Aboriginal people.

# data[].spatial[].title
Melville Island, Tiwi Islands, Northern Territory, Australia

# data[]._meta.copyright
Copyright National Museum of Australia / CC BY-NC

# data[].physicalDescription
Bark strips covered in ochre and joined by cotton to make a waist ornament. The centre section forms a square with a cross running through it with two triangular shapes extending out from either side, and with cotton ties joined to each extreme point.

# data[].spatial[].title
Murray (Mer) Island, Torres Strait, Queensland, Australia

# data[].spatial[].title
Old Parliament House, Parkes, Canberra, Australian Capital Territory, Australia

# data[].spatial[].description
Used at the opening of the NMA's exhibition Landmarks-People, Land and Political Change

# data[]._meta.copyright
Copyright National Museum of Australia / CC BY-NC

# data[].title
The Moon-Man depicted on paper, Alinda, Yirrkala, 1948

# data[].collection.title
American-Australian Scientific Expedition to Arnhem Land (AASEAL) collection

# data[].physicalDescription
Depicts fish and eight unidentified objects. Bands of solid colour and crosshatching. Ochre on grey paper mounted on cardboard. Location: Yirrkala, NT.

# data[].spatial[].title
Yirrkala, East Arnhem Land, Northern Territory, Australia

# data[].spatial[].title
Milingimbi, Arnhem Land, Northern Territory, Australia

# data[].spatial[].title
Yirrkala, East Arnhem Land, Northern Territory, Australia

# data[].spatial[].title
Yirrkala, East Arnhem Land, Northern Territory, Australia

# data[]._meta.copyright
Copyright National Museum of Australia / CC BY-NC

# data[].physicalDescription
Ceremonial club made from ochred wood with a handle in one long piece, and the head formed from two pieces crossed over each other, with woven bark attached to the handle.

# data[].spatial[].title
Murray (Mer) Island, Torres Strait, Queensland, Australia

# data[].spatial[].title
Old Parliament House, Parkes, Canberra, Australian Capital Territory, Australia

# data[].spatial[].description
Used at the opening of the NMA's exhibition Landmarks-People, Land and Political Change

# data[]._meta.copyright
Copyright National Museum of Australia / CC BY-NC

# data[].title
Glass plate negative - Bush scene, Bathurst Island, Northern Territory. The stringy-bark has had its bark removed for the purpose of constructing a canoe, photographed by Herbert Basedow, 1911

# data[].description
Reproduced by Basedow in 'Notes on the Natives of Bathurst Island, North Australia', "Journal of the Royal Anthropological Institute",  vol. XLIII, 1913, plate XII/1. Caption reads: 'Forest scene on Bathurst Island. From the stringy-barked eucalyptus on the left side of the picture, the bark has been removed for the purpose of making a canoe. Another tree, which has been similarly treated, is seen in the background, near the centre of the picture. In the foreground note a tall specimen of the zamia-palm (Cycas media).'

# data[].physicalDescription
Black and white glass plate negative. Caption: Bush scene. The stringy-bark (Eucalyptus tetradonta) has had its bark removed for the purpose of constructing a canoe, as has the tree in the centre background. Note the zamia (Cycas media) in the foreground.

# data[]._meta.copyright
Copyright National Museum of Australia / CC BY-NC

# data[].physicalDescription
A bunch of grass strands tied together and separated with bark to form a toy doll with a head, body, arms and legs.

# data[].spatial[].title
Murray (Mer) Island, Torres Strait, Queensland, Australia

# data[].spatial[].title
Old Parliament House, Parkes, Canberra, Australian Capital Territory, Australia

# data[].spatial[].description
Used at the opening of the NMA's exhibition Landmarks-People, Land and Political Change

# data[]._meta.copyright
Copyright National Museum of Australia / CC BY-NC

# data[].collection.title
David Crane and Alice Sutton collection no. 2

# data[].physicalDescription
A roofing slab comprising a length of bark.

# data[]._meta.copyright
Copyright National Museum of Australia / CC BY-NC

# data[].title
Bai Bai Sam or warrior's headband worn by Danny Ghee

# data[].physicalDescription
A warrior's headband with five rectangular bark pieces joined by thin bark strips and covered in ochre. Attached to the largest central piece is a vertical rod with three groups of white feathers and one black and white feather at the top.

# data[].spatial[].title
Murray (Mer) Island, Torres Strait, Queensland, Australia

# data[].spatial[].title
Old Parliament House, Parkes, Canberra, Australian Capital Territory, Australia

# data[].spatial[].description
Used at the opening of the NMA's exhibition Landmarks-People, Land and Political Change

# data[]._meta.copyright
Copyright National Museum of Australia / CC BY-NC

# data[].title
Calendar for 1982 that features images of bark paintings from the National Ethnographic Collection

# data[].physicalDescription
Large format calendar that is illustrated with 12 colour plates that depict a different bark painting. Each painting is from a different geographic area and therefore represents a different style and mythological theme. The calendar has a metal binding and is in an envelope.

# data[].spatial[].description
The AIA was, and the NMA is, based in Canberra

# data[]._meta.copyright
Copyright National Museum of Australia / CC BY-NC

# data[].title
The final burial (aka A burial ceremony), work on paper, Yirrkla, 1948

# data[].collection.title
American-Australian Scientific Expedition to Arnhem Land (AASEAL) collection

# data[].physicalDescription
Mortuary ceremony depicted in narrative sequence in three panels. Ochre on grey paper mounted on cardboard. Location: Yirrkala, NT.

# data[].spatial[].title
Milingimbi, Arnhem Land, Northern Territory, Australia

# data[].spatial[].title
Yirrkala, East Arnhem Land, Northern Territory, Australia

# data[].spatial[].title
Yirrkala, East Arnhem Land, Northern Territory, Australia

# data[].spatial[].title
Yirrkala, East Arnhem Land, Northern Territory, Australia

# data[].spatial[].title
Milingimbi, Arnhem Land, Northern Territory, Australia

# data[]._meta.copyright
Copyright National Museum of Australia / CC BY-NC

# data[].title
Bai Bai Sam or warrior's headband worn by Bruce Tapau

# data[].physicalDescription
A warrior's headband made from five rectangular bark pieces joined by thin bark strips, and covered in ochre. The centre piece is largest with a white feather attached. Plaited bark is used for tying the headband to the head. The headband was worn by Bruce Tapau.

# data[].spatial[].title
Murray (Mer) Island, Torres Strait, Queensland, Australia

# data[].spatial[].title
Old Parliament House, Parkes, Canberra, Australian Capital Territory, Australia

# data[].spatial[].description
Used at the opening of the NMA's exhibition Landmarks-People, Land and Political Change

# data[]._meta.copyright
Copyright National Museum of Australia / CC BY-NC

# data[].title
The Man Dauandja, work on paper, Oenpelli, 1948

# data[].collection.title
American-Australian Scientific Expedition to Arnhem Land (AASEAL) collection

# data[].physicalDescription
Central design of radiating bands terminating in circles. Cobweb effect. Crosshatching infill. Ochre on grey paper mounted on cardboard. Location: Oenpelli, NT.

# data[].spatial[].title
Gunbalanya (Oenpelli), Western Arnhem Land, Northern Territory, Australia

# data[].spatial[].title
Liverpool River, Arnhem Land, Northern Territory, Australia

# data[].spatial[].title
Gunbalanya (Oenpelli), Western Arnhem Land, Northern Territory, Australia

# data[].spatial[].title
Yirrkala, East Arnhem Land, Northern Territory, Australia

# data[].spatial[].title
Milingimbi, Arnhem Land, Northern Territory, Australia

# data[]._meta.copyright
Copyright National Museum of Australia / CC BY-NC

# data[].title
Fresh-water Tortoise work on paper, Oenpelli, 1948

# data[].collection.title
American-Australian Scientific Expedition to Arnhem Land (AASEAL) collection

# data[].physicalDescription
Turtle image with triangles of crosshatching. Ochre on brown paper mounted on cardboard. Location: Oenpelli, NT.

# data[].spatial[].title
Milingimbi, Arnhem Land, Northern Territory, Australia

# data[].spatial[].title
Liverpool River, Arnhem Land, Northern Territory, Australia

# data[].spatial[].title
Gunbalanya (Oenpelli), Western Arnhem Land, Northern Territory, Australia

# data[].spatial[].title
Gunbalanya (Oenpelli), Western Arnhem Land, Northern Territory, Australia

# data[].spatial[].title
Liverpool River, Arnhem Land, Northern Territory, Australia

# data[].spatial[].title
Milingimbi, Arnhem Land, Northern Territory, Australia

# data[]._meta.copyright
Copyright National Museum of Australia / CC BY-NC

# data[].title
The Lightning Man, Namaragan depicted on paper, Oenpelli, 1948

# data[].collection.title
American-Australian Scientific Expedition to Arnhem Land (AASEAL) collection

# data[].physicalDescription
Mythical figure, human male form. Ochre on grey paper mounted on cardboard. Location: Oenpelli, NT.

# data[].spatial[].title
Milingimbi, Arnhem Land, Northern Territory, Australia

# data[].spatial[].title
Gunbalanya (Oenpelli), Western Arnhem Land, Northern Territory, Australia

# data[].spatial[].title
Gunbalanya (Oenpelli), Western Arnhem Land, Northern Territory, Australia

# data[].spatial[].title
Liverpool River, Arnhem Land, Northern Territory, Australia

# data[].spatial[].title
Milingimbi, Arnhem Land, Northern Territory, Australia

# data[].spatial[].title
Yirrkala, East Arnhem Land, Northern Territory, Australia

# data[]._meta.copyright
Copyright National Museum of Australia / CC BY-NC

# data[].title
The Honey Man, Boubit-Boubit, work on paper, Gunbalanya (Oenpelli), 1948

# data[].collection.title
American-Australian Scientific Expedition to Arnhem Land (AASEAL) collection

# data[].physicalDescription
Depicts five ceremonial boards with longitudinal bands of dots, one human male figure. Ochres on grey paper mounted on cardboard. Location: Oenpelli, NT.

# data[].spatial[].title
Gunbalanya (Oenpelli), Western Arnhem Land, Northern Territory, Australia

# data[].spatial[].title
Yirrkala, East Arnhem Land, Northern Territory, Australia

# data[].spatial[].title
Milingimbi, Arnhem Land, Northern Territory, Australia

# data[].spatial[].title
Gunbalanya (Oenpelli), Western Arnhem Land, Northern Territory, Australia

# data[].spatial[].title
Liverpool River, Arnhem Land, Northern Territory, Australia

# data[]._meta.copyright
Copyright National Museum of Australia / CC BY-NC

# data[].title
Bow and arrow used by the Drums of Mer Dance Group, June 1993

# data[].description
Bow and arrow used by the Murray Island dancers of the Drums of Mer Dance Group at the opening of the Museum's exhibition 'Landmarks-People, Land and Political Change' at Old Parliament House, June 1993.

# data[].physicalDescription
A bow and arrow with a curved varnished bamboo strip bow with plaited bark from end to end and strips of grass bunched at each end of the bow. The the arrow is formed from a long thin piece of bamboo, with a painted red tip and strips of bark joined to the top of the arrow with white painted string. There is a small chip in the bamboo at the distal end.

# data[].spatial[].title
Murray (Mer) Island, Torres Strait, Queensland, Australia

# data[].spatial[].title
Old Parliament House, Parkes, Canberra, Australian Capital Territory, Australia

# data[].spatial[].description
Used at the opening of the NMA's exhibition Landmarks-People, Land and Political Change

# data[]._meta.copyright
Copyright National Museum of Australia / CC BY-NC

# data[].title
Abstract design on paper, Oenpelli, 1948

# data[].collection.title
American-Australian Scientific Expedition to Arnhem Land (AASEAL) collection

# data[].physicalDescription
Complex design of dotted bands on crosshatching ground. Many separate components. Ochre on mustard paper mounted on cardboard. Location: Liverpool River, NT.

# data[].spatial[].title
Milingimbi, Arnhem Land, Northern Territory, Australia

# data[].spatial[].title
Gunbalanya (Oenpelli), Western Arnhem Land, Northern Territory, Australia

# data[].spatial[].title
Yirrkala, East Arnhem Land, Northern Territory, Australia

# data[].spatial[].title
Gunbalanya (Oenpelli), Western Arnhem Land, Northern Territory, Australia

# data[].spatial[].title
Liverpool River, Arnhem Land, Northern Territory, Australia

# data[].spatial[].title
Milingimbi, Arnhem Land, Northern Territory, Australia

# data[]._meta.copyright
Copyright National Museum of Australia / CC BY-NC

# data[].title
The Men, Adungun, work on paper, Oenpelli, 1948

# data[].collection.title
American-Australian Scientific Expedition to Arnhem Land (AASEAL) collection

# data[].physicalDescription
Depicts one large and one small human figure. Red body with white outlines and white stripe infill. Ochre on grey paper mounted on cardboard. Location: Oenpelli, NT.

# data[].spatial[].title
Milingimbi, Arnhem Land, Northern Territory, Australia

# data[].spatial[].title
Gunbalanya (Oenpelli), Western Arnhem Land, Northern Territory, Australia

# data[].spatial[].title
Yirrkala, East Arnhem Land, Northern Territory, Australia

# data[].spatial[].title
Gunbalanya (Oenpelli), Western Arnhem Land, Northern Territory, Australia

# data[].spatial[].title
Liverpool River, Arnhem Land, Northern Territory, Australia

# data[].spatial[].title
Milingimbi, Arnhem Land, Northern Territory, Australia

# data[]._meta.copyright
Copyright National Museum of Australia / CC BY-NC

# data[].title
Work on paper depicting a goanna and crocodiles, Oenpelli, 1948

# data[].collection.title
American-Australian Scientific Expedition to Arnhem Land (AASEAL) collection

# data[].physicalDescription
Depicts one goanna, two crocodile images. Striped and dotted detail on each. Ochre on mustard paper mounted on cardboard. Location: Oenpelli, NT.

# data[].spatial[].title
Liverpool River, Arnhem Land, Northern Territory, Australia

# data[].spatial[].title
Gunbalanya (Oenpelli), Western Arnhem Land, Northern Territory, Australia

# data[].spatial[].title
Milingimbi, Arnhem Land, Northern Territory, Australia

# data[].spatial[].title
Liverpool River, Arnhem Land, Northern Territory, Australia

# data[].spatial[].title
Gunbalanya (Oenpelli), Western Arnhem Land, Northern Territory, Australia

# data[].spatial[].title
Yirrkala, East Arnhem Land, Northern Territory, Australia

# data[]._meta.copyright
Copyright National Museum of Australia / CC BY-NC

# data[].title
Abstract design on paper from Oenpelli,1948

# data[].collection.title
American-Australian Scientific Expedition to Arnhem Land (AASEAL) collection

# data[].physicalDescription
Complex design of curved bands of yellow outlined with red, crosshatching infill. Ochre on grey paper mounted on cardboard.

# data[].spatial[].title
Milingimbi, Arnhem Land, Northern Territory, Australia

# data[].spatial[].title
Gunbalanya (Oenpelli), Western Arnhem Land, Northern Territory, Australia

# data[].spatial[].title
Liverpool River, Arnhem Land, Northern Territory, Australia

# data[].spatial[].title
Yirrkala, East Arnhem Land, Northern Territory, Australia

# data[].spatial[].title
Milingimbi, Arnhem Land, Northern Territory, Australia

# data[].spatial[].title
Gunbalanya (Oenpelli), Western Arnhem Land, Northern Territory, Australia

# data[]._meta.copyright
Copyright National Museum of Australia / CC BY-NC

# data[].title
Work on paper, in the style of a bark painting, depicting several European and Aboriginal men with spears and a crucifixion scene, Yirrkala, 1948

# data[].collection.title
American-Australian Scientific Expedition to Arnhem Land (AASEAL) collection

# data[].physicalDescription
Divided into four panels: 1. white figure in European clothing spearing black man; 2. angels?; 3. Two Europeans with spear; 4. crucifixion scene, three black men on crosses, one white man kneeling between them. Ochre on grey paper mounted on cardboard. Location: Yirrkala, NT.

# data[].spatial[].title
Milingimbi, Arnhem Land, Northern Territory, Australia

# data[].spatial[].title
Yirrkala, East Arnhem Land, Northern Territory, Australia

# data[].spatial[].title
Yirrkala, East Arnhem Land, Northern Territory, Australia

# data[].spatial[].title
Milingimbi, Arnhem Land, Northern Territory, Australia

# data[].spatial[].title
Yirrkala, East Arnhem Land, Northern Territory, Australia

# data[]._meta.copyright
Copyright National Museum of Australia / CC BY-NC

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Work on paper depicting a bird, Oenpelli, 1948

# data[].collection.title
American-Australian Scientific Expedition to Arnhem Land (AASEAL) collection

# data[].physicalDescription
Depicts bird with dotted lines and bands of crosshatching. Ochre on mustard paper mounted on cardboard.

# data[].spatial[].title
Milingimbi, Arnhem Land, Northern Territory, Australia

# data[].spatial[].title
Gunbalanya (Oenpelli), Western Arnhem Land, Northern Territory, Australia

# data[].spatial[].title
Gunbalanya (Oenpelli), Western Arnhem Land, Northern Territory, Australia

# data[].spatial[].title
Yirrkala, East Arnhem Land, Northern Territory, Australia

# data[].spatial[].title
Milingimbi, Arnhem Land, Northern Territory, Australia

# data[].spatial[].title
Liverpool River, Arnhem Land, Northern Territory, Australia

# data[]._meta.copyright
Copyright National Museum of Australia / CC BY-NC

# data[].title
The Hammerhead Shark, work on paper, Oenpelli, 1948

# data[].collection.title
American-Australian Scientific Expedition to Arnhem Land (AASEAL) collection

# data[].physicalDescription
Depicts large fish, dotted outline, hatching infill. Ochre on grey paper mounted on cardboard. Location: Oenpelli, NT.

# data[].spatial[].title
Milingimbi, Arnhem Land, Northern Territory, Australia

# data[].spatial[].title
Gunbalanya (Oenpelli), Western Arnhem Land, Northern Territory, Australia

# data[].spatial[].title
Yirrkala, East Arnhem Land, Northern Territory, Australia

# data[].spatial[].title
Gunbalanya (Oenpelli), Western Arnhem Land, Northern Territory, Australia

# data[].spatial[].title
Milingimbi, Arnhem Land, Northern Territory, Australia

# data[].spatial[].title
Liverpool River, Arnhem Land, Northern Territory, Australia

# data[]._meta.copyright
Copyright National Museum of Australia / CC BY-NC

# data[].title
'Ancestral Numbardee Woman' artwork, by Cheryl Moodai Robinson, 1998

# data[].physicalDescription
An artwork titled Ancestral Numbardee Woman. It is comprised of thirteen different elements. There is a sculpture made from hanging seed pods featuring the names of people handwritten on each one, four baskets of which three are woven from natural materials and one is made from handkerchiefs, and four masks each made from wood and other natural materials. There are also four capes, of which one is made from bark, the second is made from netting, the third is made from grey coloured cloth with a separate hanger, and the fourth is made from leather also with a separate hanger.

# data[].significanceStatement
The artist writes 'My artwork is all connected, it is of one body, each piece is not separate from the previous or the next, but part of and connected to the previous and the next. The same as our culture - the past, present and future are all linked and present in each other."

The Ancestral Mother (Numbardee) is made of seed pods hung together with fishing wire in the shape of a woman. It represents Cheryl's traditional mother and all those who had come from her. The traditional mother is surrounded by two circles. The first is of four vessels produced for Cheryl's four ancestral mothers chronicling the history of Aboriginal people, traditional (colonisation), extermination, assimilation and rebirth (reconciliation). Each vessel was created using symbolic materials. The traditional vessels were created using nut grass collected from the Narran River, the extermination vessels are made from galvanised burr also collected from the Narran River; assimilation vessels use white lace handkerchiefs and the rebirth vessels use box tree, sandalwood, mulla mulla, emu bush and native grasses collected from the Narran River. Cheryl says she purged her anger about her grandmothers who died without passing on family history and stories through the creation of these vessels. 'Each vessel was like a birth of change and an anticipation'. Cheryl found that her anger at the extermination of her family was released whilst she was creating the traditional vessel. 

The second circle of four capes and masks, again representing the same themes, using similar symbolic materials to talk about both the past and present and to 'continue the traditions of storytelling and creating from the environment to tell these stories, it is a cultural imperative, it's what the ancestors want to happen'. 

The women's spindles had been used in a traditional way to spin Cheryl's hair and each feature an image of her maternal mothers who lived under one of the four histories of Australia's colonisation. 

The speaking boxes (totalling 5) speak about 5 eras in Aboriginal colonial history. They are Colonisation, Extermination, Integration, Assimilation and Reconciliation. They tell the stories about her maternal mothers and their experiences and lives during these times.

# data[].spatial[].title
Narran River, New South Wales, Australia

# data[].spatial[].description
Place materials collected for Rebirth, Extermination and Traditional vessels

# data[]._meta.copyright
Copyright National Museum of Australia / CC BY-NC

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Photographic glass plate positive depicting seven men outside small slab and bark building

# data[].physicalDescription
Black and white photographic glass plate positive that depicts seven men lounging outside a small slab and bark building.

# data[].significanceStatement
The Richard Daintree collection consists of 10 glass plate positives in a wooden travel case made in the 1870s.  The glass plate positives are copies of glass plate negatives, produced through wet plate photography.  The photographs were taken by Richard Daintree in north Queensland in the 1860s of gold miners at home and at work; a bullock team and dray; and a large group of Aboriginal or Islander people at a mission station. 

Richard Daintree (1832-78) was born in Cambridgeshire and joined the gold rush to Victoria in 1852.  Unsuccessful as a prospector, he became a geological surveyor and a skilled photographer.  In the 1860s he was one of the earliest European settlers in north Queensland.  He conducted geological surveys and discovered gold that lead to the first gold rushes in north Queensland.  As a photographer, he made the only known images of these first remote gold fields in the north. They were used internationally by the colony to promote immigration and investment.

# data[]._meta.copyright
Copyright National Museum of Australia / CC BY-NC

# data[].physicalDescription
A conical mask of bark cloth on a cane frame, surmounted by a horseshoe-shaped structure.  The facial features are depicted in relief, and the mask is painted red, black, and white.

# data[].spatial[].title
National Museum of Australia, Canberra, Australian Capital Territory, Australia

# data[].spatial[].description
Transferred from Institute of Anatomy to National Museum of Australia, 1984.

# data[].spatial[].title
Acton, Canberra, Australian Capital Territory, Australia

# data[].spatial[].description
Transfered from Australian Museum to Institute of Anatomy, 1933.  

# data[].spatial[].title
Darlinghurst, Sydney, New South Wales, Australia

# data[].spatial[].description
Place catalogued at Australian Museum, May 1923.  

# data[].spatial[].title
Gulf Province, Papua New Guinea, Oceania

# data[].spatial[].description
Place where collected in Territory of Papua, before May 1923. 

# data[].temporal[].description
Collected before May 1923, when catalogued at the Australian Museum, Sydney. 

# data[].temporal[].description
Approximate date of transfer to Institute of Anatomy, Canberra.

# data[]._meta.copyright
Copyright National Museum of Australia / CC BY-NC

# data[].title
'Domestic Servant - Gubberamunda, Coongoola’ artwork made by Pamela Croft and Cheryl Moodai Robinson

# data[].collection.title
Pamela Croft and Cheryl Moodai Robinson collection no. 2

# data[].description
This collaborative artwork ‘Domestic Servant – Gubberamunda, Coongoola’ was made by Pamela Croft and Cheryl Moodai Robinson, two Indigenous artists who, as adults, discovered they are second cousins.

The artwork was one of a number of pieces exhibited in 'No More Secrets', an exhibition held at Casula Powerhouse in 1998. This artwork, speaks of the artists' maternal grandmothers, mothers and aunties who were all placed into service on sheep or cattle stations in outback Queensland. In the words of the artists, 'This artwork told of how having to be servants to white people bought about immense change to our ancestors and their descendants, because they were not able to speak up, not able to speak their language, not able to use their culture. Our grandmothers had to learn the customs of another culture and do things the way of the colonisers'.

# data[].physicalDescription
An artwork comprised of multiple objects pegged onto a white cloth clothes or washing line with 19 round dolly pegs and 16 square clip pegs. The objects include: a cane washing basket or clothes basket with an assemblage of lace, wood and a locket in the base; three starched cream crochet objects including a teapot, a boot with pink ribbon bows and a black stocking and a love heart that is stained with patches of red paint; a cream corset; a rectangular cream crocheted jug cover with 'MILK' featuring as the central design; a diamond shaped white cloth featuring embroidery of a girl and flowers; a rectangular white floral embroidered table runner; and two white tea towels, one with a red stripe on each side and one with a brown stripe on each side.

# data[].significanceStatement
This collection comprises the ‘Domestic Servant’ installation created by Cheryl Moodai Robinson and Pamela Croft. It features a cane basket containing a locket with an image of Cheryl and Pamela’s maternal grandmother, hanging on a line with other objects that symbolise what many Aboriginal women would associate with Domestic service, items from a simple (shift) dress, tea towels, and peg back all hung on several lines which represents a clothes line. 

‘Domestic Servant’ references with the (often) forced use of Aboriginal girls as domestic labour within Non-Aboriginal households. The majority of Aboriginal girls, from 14 years of age, were forced into this form of employment as part of the Integration and Assimilation policies that were in place during the early to mid1900’s.

# data[].spatial[].description
The corset was manufactured in Italy by the company Varo.

# data[].spatial[].description
Coongoola station north of Cunnamulla, Queensland where artists' great grandmother Annie Eugenie was placed into service.

# data[].spatial[].title
Liverpool, Sydney, New South Wales, Australia

# data[].spatial[].description
The artwork was on display at Casula Powerhouse, Liverpool NSW in the 'No More Secrets' exhibition.

# data[].spatial[].description
Gubberamunda Station, north of Roma Queensland, where artists' great grandmother Annie Eugenie was placed into service.

# data[].temporal[].description
The year the artwork was on display at Casula Powerhouse.

# data[]._meta.copyright
Copyright National Museum of Australia / CC BY-NC