Chapter 17: Kununurra - 1

Patrick, Tessa and Sam arrived in Kununurra around noon on Monday. They were met at the airport by Des Hill, former chairperson of the MG [Miriuwung–Gajerrong] Corporation, who took them to the Moongoong Darwung Community Centre where they were offered lunch.

“I know you’re here officially,” Hill said, “But little more.”

“Let me begin,” said Patrick. “The ministry in Perth received a letter stating the many of the ‘closed’ areas were being – uh, I believe ‘invaded’ was the term – by tourists who had no permit, refused to apply for one and – in at least two cases – knocked down the barriers that had been erected.”

“I know of such cases.”

“Very well. As most tourists seem to originate from Darwin and Katherine and fewer from Halls Creek and Wyndham, the ministry asked me to find two representatives to reside here for several months and make recommendations. Sam and Tessa will serve as those representatives. Sam has been recognized by the federal government and both Sam and Tessa have been empowered by the AG of Western Australia and the Ministry for Aboriginal Affairs.”

“My guess there is more.”

“Yes. They are here to learn. More, the Ministry must be better informed. There are many thousands of rock art sites. Most of these can tell us things we don’t know from millennia before the first fleet. Some of these are sacred sites. The burden is upon us to guard and protect them.”

The northern Kimberley is home to one of the world’s biggest and most varied ancient art collections.

“We’re at the end of three months of fieldwork, and it’s been hard work ... but we’re happy, we’re tired, and the feeling’s good,” project leader and University of Western Australia archaeology Professor Peter Veth said.

“It’s like there’s a whole new insight, a whole new window into this whole graphic, deep-time history of the Kimberley.”

Kimberley’s rock art is poorly understood, with archaeologists estimating only 1 or 2 per cent has been recorded.

It is hoped the Kimberley Visions project, funded by the Australian Research Council and the not-for-profit Kimberley Foundation Australia, will help track the development of the region’s distinctive art styles, which include the elongated Gwion [or Bradshaw] figures and the distinctive Wandjina spirit figures.

The survey work has so far focused on Balanggarra country covering WA’s north-eastern corner.

“It will take another 10 to 25 years for all this new data to be amassed and completely synthesised, but we’ve already found out from this first fieldwork that there’s a different distribution of the art than was previously thought,” Professor Veth said.

“We are finding old Wandjina paintings virtually up to Wyndham and Kununurra, and there’s over-printing of what appears to be desert art, as well as Gwion panels in areas thought not thought to contain them.

“It’s a window into dynamism which is unmatched, nearly, in terms of the cultural records globally.”

modified from Erin Parke, ABC 28 September 2016

“There was a Balanggarra ranger, Curt, who worked with Professor Veth. He has gone to work on a different project. There are carvings, etchings and paintings found nearly every day. We try not to publicise the locations. Most are in one of the conservation parks or in the nature preserve.”

“Do many people live here?” Tessa asked.

“About 7000 in the district. About 400 aboriginals. According to the census, there are 120 speakers of Miriwoong.” He laughed. “There are 25 more elsewhere in Western Australia and another 25 elsewhere on the island.”

“Yes,” said Sam. “Nearly all in Darwin, Katherine or the Alice.”

“You’re a smart fella.”

“Is there a nungungi?” Sam asked.

“Yes. There is an old fella, Boobook. He lives in a house away from town.”

“Owl. We should speak to him,” Patrick said.

“We’ll drive past Waringarri Aboriginal Arts and then head for the Mirima Village.”

In the car, Des talked about the local economy. “It’s largely farming. Melons, mangoes, cotton. Sugar cane, for a while, but no more. All because of the damming of the Ord.