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I’m a Wathaurong man. I’m an artist who draws on life in this big red and yellow and black country. Stan “Yarra” Yarramunua: artist, musician, actor, social worker, businessman. From growing up in poverty in Swan Hill – and sometimes on the road, with his itinerant father – Yarra had a tumultuous and often rough childhood. He learnt early how to lift a wallet or two, and grew into a ratbag who looked set to follow in his father’s footsteps: fall into one too many skirmishes with the law; have one too many drinks, sliding down the path to alcoholism. Yet after years of addiction, Stan gave up drinking, discovered painting and found his true name of Yarramunua. Soon he was selling his traditional paintings, and hand-crafted clapsticks, didgeridoos and boomerangs, at markets across Melbourne. He opened one of the first privately owned Aboriginal art galleries in Australia, and represented Indigenous artists from around the country, including from the desert regions. Today, Yarra is an internationally renowned artist and performer. But he hasn’t forgotten his roots: he is committed to improving the lives of Aboriginal kids in his home town, and has helped many young Indigenous men find their way out of addiction and despair. This is an inspiring story of a remarkable man overcoming hardship, striving for a better life, and reclaiming his ancestry. ‘This may be a written memoir, but Indigenous artist Stan Yarramunua has a plain-speaking, conversational style that comes across so clearly it’s actually like listening to his story, which is a rites-of-passage tale of growing up tough and wild.’ —Sydney Morning Herald
Kinship classification, terms of relationship of Larrakya, Worgait, Port Essington, Melville Island, Djauan, Mungarai and Nullakun tribes; full account of initiation ceremonies (Larrakya, Worgait, Djauan, Mungarai, Nullakun, Melville Island, Port Essington); totemic systems (Melville Island, Port Essington, Larrakya, Worgait, Djauan, Mungarai, Mara, Nullakun, Yungman); sacred sticks and traditions associated with them; traditions associated with ancestral heroes; myths concerning Kunapippi (Mungarai), Sugar Bag man (Yungman), Snake man & Thunder man (Mungarai), Rainbow man (Nullakun); beliefs regarding origin of children and reincarnation; burial rites (Larrakya, Melville Island, Mungarai, Mara); mutilation of the body, camps, shelters etc.
SOUNDING 3 begins with Echo 34: DERRIMUTT THE GO-BETWEEN. This clan head of the Bunurong people was the traditional ‘owner’ of the town site that became Melbourne’s CBD on the western side of the river. Bible-bashing Protector Thomas’s journals of camping with the natives at what is now the Botanic Gardens is eye-opening and reveals mind-bending mysteries and misery with grog and gun-control issues that resonate on up to today. This Sounding personalises many local Kulin identities such as Polierong aka Billy Lonsdale and Yabbee aka Billy Hamilton who name-swapped with the early leading townsmen and squatters on their ‘country’. Next follow snippets from Mick Woiwod’s fictional but faithful novel The Last Cry, along with his Yarra Valley anthropology and reconciliatory vision. Surveying and selling off the Yarra and Diamond Valley ‘badlands’ stringybark forest leads into discussions on sorcery, smallpox and culture-collapse into fringe-dwelling. The frontier moves on north, west and east and the tone changes to academic, political and biographic studies of Aboriginal workers and surviving kooris including the life and times of Wurundjeri clan heads Billibellary, Simon Wonga and William Barak. In the decades after World War 2, academic historical analysis led to the politicized ‘history wars’ as reaction to the racist colonial ‘white Australia policy’ lies, fears and distortions cloaked by denial and patriotism. Echo 49: THE NATIVE POLICE – Turncoats or adaptation [?] is the largest echo in this Sounding and the question is posed in five parts, the last being Irish observer Claire Dunne on applying the bloody colonial lessons of Port Phillip to frontier Queensland and beyond to Central Australia’s mass-murderer Constable Willshire and the cultural logic of settler nationalism. Echoes follow on re-visioning Aboriginal / white history and historical geography research of ‘high country’ clans and language groups in my unsatisfied search of a supposed ‘superior tribe’ in the Alps who reportedly ‘dwelt in stone houses all year round’. Sounding 3 ends with echoes titled COLONIAL OBSERVATIONS OF HIGH SOCIETY EMIGRANTS containing Georgina and her son George McCrae’s journals of Yarra-side and pioneering the Mornington peninsula in the 1840s along with early 1860s photographs of native people collected by gentleman squatter John Hunter Kerr.
Bailliere's Victorian gazetteer and road guide : containing the most recent and accurate information as to every place in the colony : with map.