Honey ant dreaming
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The honey pot ants Mural (English: Honey Ant mural or Honey ant dreaming ) was formed in July 1971 ( in other sources from June to August) in Papunya, Northern Territory. Papunya applies because of this wall painting, which created seven Aborigines as the " birthplace of one of the most significant movements in modern art of Australia ". Such newly established direction ( German: dot-painting ) Dot Painting and Papunya Tula called. The mural was lost in 1972; there have survived only a few pictures of it.
Prehistory
The Aboriginessiedlung Papunya, now live next to other 150 Aboriginal artists in the, was founded in 1959 in the Western Desert, to assimilate the Aboriginal language group of the Pintupi and Luritja of white Australian society. The Aboriginal people were disenfranchised and could no longer hunter-gatherers move freely. They were cut off in the staging imposed on them by their life and cultural roots. In addition, this policy of assimilation meant that a white Protector of Aborigines certain not only about their whereabouts, but also decided where to work and whether they and whom they were allowed to marry. Furthermore, a Protector could spend Aborigineskinder against the will of their families in boarding schools or in white families, which led to the historical phenomenon of the Stolen Generation.
Geoffrey Bardon, who was busy in the early 1970s as an art teacher at Papunya, described it then as "a foreign, miserable place of alcoholism, drunken fighting, car accidents and murder " ( German: " a strange, miserable place with alcoholism, beatings from drunkenness, car accidents and murder ").
In the settlement of Papunya, there is a school building, in which the young art teacher Geoffrey Bardon, supported by its derived from Aboriginesstamm the Arrernte assistants Obed Ragett taught. 1971 saw Bardon that the Aborigines recorded loops and spirals in the sand. Then he first animated youthful pupils to paint such pictures on the walls of the school building. This attempt failed.
Formation
After several adult Aborigines, including Kaapa Tjampitjinpa, smaller paintings were painted on the walls, seven Aboriginal people came together to paint a monumental mural for the Dreamtime story of the honey pot ants. This was done under the supervision of the Keeper of the Honeypot Ant Dreaming Old Tom Tjapangati Onion and Mick Wallangkarri Tjakamarra. The seven artists were Kaapa Tjampitjinpa, who led the group of painters, Billy Stockman Tjapaltjarri, Long Jack Phillipus Jakamarra, Johnny Warangkula Jupurrula and Don Ellis Tjapanangka.
Description
The land around Papunya is called by the Aborigines Tjala. It is associated in the minds of Aboriginal people with the honey pot ants Dreamtime. The inherited from their ancestors symbolic language had been reflected in representations of the honeypot ant Mural in both underground and circular shapes and lines. The shapes of the mural were partially with points, large circular symbols were shown side by side and connected by a tape. In addition, smaller U- shaped structures, circles and linear shaped patterns were.
The characters occurring in paintings and motifs that used the Aboriginal artists, establish connections to Aboriginal land. The symbols are used ambiguously. Thus, a circle, as used on the honeypot ants mural, for example, a storage bin, a Billabong or a Corroboree represent. The symbols used can also be part of a person, a tree trunk or plant stem, a central component of an edible plant or even a landscape detail, like a hill. These symbols are also used for body painting and ground drawings.
When the mural was, every afternoon were 50 male Pintupi there to during the development period and after completion front of the painting to sing their song lines and to consider whether "forbidden sacred symbols of the Aborigines " had been shown. There were several changes of detail and the painting had to be made twice because a central breach of a "sacred law" was found.
A final interpretation and understanding of the respective works of art of the Dot Paintings only opens up the appropriately initiated Aborigines.
Aftermath
After the honey pot ants mural was completed, even more aboriginals began to paint. Bardon she pointed into modern painting techniques and materials. So images could arise that were tough on canvases or boards as transportable and by the use of synthetic colors. These works of art were able to leave their place of origin, and a wider appreciation of art from the Australian desert began. This was not previously possible with pictures on rocks and in the sand. The few pictures that had been made by Aboriginal previously on wood or bark, had been usually not for sale.
In September 1971, the Papunya School Painters was founded Co-operative of three whites, including Bardon. Bardon founded in November 1972 with eleven other Aboriginal people, including Long Jack Phillipus Jakakamarra and Ronnie Tjampitjinpa, the Papunya Tula Artists Pty Ltd, to protect the economic interests of Aboriginal painting. 1974 was one of this organization already 40 members. This form of organization took into account the social and economic interests of Aboriginal painting and was an example for others. In 2009 there were 42 such "desert Indigenous art communties ."
The name Tula comes from the smaller of the two hills at Papunya, an area of honeypot ants Dreamtime. The first chairman of the Tula Artists was Kaapa Tjampitjinpa, who was a leading role in the creation of the honeypot ant mural. The Tula Artists Company had 49 indigenous shareholders and 120 members in 2011. Today, the Punya - Tula Community is called " flagship of a multimillion - dollar Indigenous arts industry ": means ( German " flagship of an indigenous multi- million dollar art industry "). Amnesty International Australia estimated in 2011 that the national Aboriginal art generates a turnover of 200 million AUD.
After Bardon left Papunya, the honeypot ants mural was destroyed in 1972 under an existing Schoolhouse " Cleanliness Regulation ".