Speaking with the Indigenous digital tongue

One of the latest initiatives is creating a Homeland studio model for remote communities so artists can produce works that merge old ways and new ways. The project is called InDigiMatha – the ‘Indigenous digital tongue’. 
Artist Djambawa Maraili – who works with Goŋ Wanhurr – described the ‘Indigenous tongue’ as the land being complete. 

‘It has all that it needs for its continuation and sustenance. But it cannot express itself. It cannot sing, paint and dance its identity. And so, it has grown a tongue. That tongue is the Yolŋu. The Indigenous people of Australia. They exist to articulate the land. That is their reason for existence.’ 

Teaching old ways through new media

InDigiMatha is a groundbreaking, virtual reality–based project informed by the desires of Elders. Artists collaborate on Homelands to create art that becomes moving, immersive experiences once a person puts on the headset. This way of using art in new, experiential ways is meant to transform community for a sustainable future.

‘Homelands is where knowledge is kept and passed on. It keeps language and culture alive,’ says Director Kevin Lucas.

Goŋ Wanhurr is a Wangurri clan expression that means the hand (Goŋ) that cracks open the cycad nut before purifying it in a sacred process that produces a ceremonial bread.

‘All these structures that Goŋ Wanhurr has are about creating employment to engage with youth and intergenerational knowledge exchange and about creating projects and learning.’

InDigiMatha extends the Indigenous digital tongue. It shows the user (wherever they are in the world) stories of deep connection to Country and shares invaluable intergenerational knowledge. 

Artwork: Mäna (Shark) by Sally Nirrkuiga Mununggurr (Dhuwa). Photo: Adnan Reza, CDU Content Creator

Strong partnerships extend cultural reach 

Goŋ Wanhurr has supported artists to produce new-media cultural artworks while developing partnerships to bridge the gap between Homelands and the exhibition and events sector. The organisation’s leaders are dedicated to working with partners to create the necessary community infrastructure to sustain efforts for future generations.

The leadership team, including Chairperson Tommy Riyakurray Munyarryun, Deputy Chairperson Djambawa Marawili, and Director Kevin Lucas, took their InDigiMatha presentation to the prestigious Purrumpa festival in Adelaide in November 2022. There, they showcased their commitment to this vision.

It was a chance to secure funding to grow InDigiMatha into an immersive experience for people to learn about Yolŋu Homelands. As a result, an exhibition of augmented reality works celebrating the digitised paintings of freshwater and saltwater Country was curated into the FLEX exhibition 2023 at MOD (Museum of Discovery) in South Australia. This followed the launch of the works at Charles Darwin University Waterfront campus and Purrumpa.

MOD. gallery FLEX Exhibition with Goŋ Wanhurr’s AR works| L-R Kevin Lucas (Executive Director) and Tommy Riyakurray Munyarryun (Chair) Image © 2023 Dr Lisa Bailey, used with permission.

The exhibition was led by community and has created opportunities to extend the reach of Goŋ Wanhurr’s innovative ideas. 

‘Stage One of the InDigiMatha Homeland residency program was led by Elders, artists and curators and has been building relationships with the GLAM [galleries, libraries, archives and museums] sector,’ says Kevin.

A vision for the future grounded in culture

By taking projects with strong partnerships to Homelands, Goŋ Wanhurr is blending 2 cultures and knowledge systems. The corporation has a focus on building a sustainable model grounded in Yolŋu structured principles of Galtha Rom (cultural law).

This means the organisation understands and cares for Country in traditional ways alongside ways that support modern economic management. Separating old and new ways is an outmoded way of working – they are stronger together.

Kevin explains, ‘The InDigiMatha business plan is grounded in partnerships established over the past decade linking remote Homeland communities, art production and cultural knowledge transmission with research, education and training providers.

‘The governance, membership and Homeland partnerships that underpin the InDigiMatha Enterprise represent strong cultural principles aligned to the wishes of Elders and Homeland organisations. 

‘Collectively they present a sustained vision of how to address outmoded structures, funding models and policy frameworks.’ 

Goŋ Wanhurr will continue its cooperative cultural activities on Yolŋu Homelands while building a future of educational and immersive curatorial partnerships. They’re looking at exciting prospects in the GLAM sector across Australia and the world.

‘To manage our growth, we are in the process of transitioning to a multi-year funding model with a two-stage, 7-year business plan,’ says Kevin. ‘We’re seeking partnership support to include a mix of regional, territory and federal program and organisational grants plus philanthropic and in-kind support.’

Through their strong outreach abilities and maintaining principles grounded in Yolŋu culture and values, the leadership team hopes to see further educational opportunities for young Yolŋu people. They expect the pathways will meet up with unique Yolŋu approaches to the arts.