Next day and time to move on. First stop was only 20km or so to the indigenous art centre at the community of Ramingining. Photography is forbidden in and around any of the communities that we visited and it was also forbidden inside this art centre, where the artists were actively working. (The gallery at Yirrkala was much more a commercial outlet for indigenous artists, so it did not have the same restrictions within the gallery – but they still applied outside the building).
We entered only about three communities. In each case, it was directly to the art centre, in two instances, or the boat-launching ramp in the other, and directly out after the activity was done.
We could take photos of the two panels representing the two ‘moieties’ of the Yolngu people on the roof of the art centre verandah. With the permission of the artists working at the Ramingining art centre some photographs could be taken. I asked, got the OK and took a couple of quick shots.
I had a mixture of surprise and disappointment to see the artist painting the thin stripes with a fine small brush with very long strands. It was a plastic-handled horse-hair brush, not anything traditional. The paint had a very sticky latex-like quality, but I didn’t ask questions about its traditional authenticity. Maybe I was expecting too much. The prices being asked for all the art and weaving works were astronomical, both here and at Yirrkala.
For anyone who has visited the NGA and seen the 50 or so ‘totem poles’ exhibit, they are from the Yolngu people.