Maria Josette Orsto, Kulama, 2010. Japanese-style woodcut. Museum of Contemporary Art, purchased with provided by the MCA Foundation, 2015. Image courtesy and © the artist

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Maria Josette Orsto, Kulama, 2010. Japanese-style woodcut. Museum of Contemporary Art, purchased with provided by the MCA Foundation, 2015. Image courtesy and © the artist

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Kitty Kantilla (Kutuwalumi Purawarrumpatu), Kulama (Yam) Ceremony in Rain, 1999
Images from Tindale’s Aboriginal Tribes of Australia
Grouper - Heavy Water / I’d Rather be Sleeping
Three Worrorra women with pronounced scarification on back, Sale River, Kimberley, Western Australia, 1938-39. This type of scarification was used to commemorate major life events like the birth of children, or the death of loved ones.

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Teenminnie, a Ngarrindjeri mother in possum or kangaroo skin cloak carrying her child on her back, c. 1860s.
By Kate_Miles_
Warrumbungle National Park, New South Wales, Australia
Mutthi Mutthi elder Mary Pappin
Tanya Charles remembers visiting Mungo as a child with her grandmother. Now, she's a ranger at the National Park.
For Tanya Charles, Mungo is one of the greatest places on earth.
“To me it’s an ancient museum that talks about true history, the way our people survived through hunting and gathering, but it also talks about good years and bad years," she told NITV's The Point.
“The people out here, they’ve been through ice ages and our people have survived so much. It’s just unbelievable how deadly our people are.”
The Mutthi Mutthi woman has been walking the Country since she was a little girl, first under the guidance of her grandmother.
Now, she’s a ranger.
Read more

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Marlene Coombe // Bush Food, 12" X 6"
Marlene began painting in 1987 and started on canvas before moving onto batik but continues to paint on both. Her paintings interpret her "dreaming of my people, wildlife, land and the universe."
Bobbi Locklear portrait sessions
Yolngu Woman and Child Arnhem Land
St. Ivaritji, elder, artist, & terminal speaker of Kaurna
"Ivaritji was born in Port Adelaide, probably in the mid 1840s. Her Kaurna name means a 'gentle, misty rain.'
Ivaritji was a truly independent woman. She wanted to be economically self-sufficient. She was a master weaver. Her mats, which were woven from reeds, were highly prized in the neighbourhood.
In terms of her loving her neighbours, she was childless, but she was known as Tuku Ngangki, which means 'mother' to many. There was talk of her as this little dark, snow-haired woman, carrying around her reeds to weave her mats and always being there to help deliver babies."
— Kaurna Stories, The Abraham Institute

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Dadirri is an Indigenous Australian method of deep listening. “Dadirri is inner, deep listening and quiet, still awareness. Dadirri recognises the deep spring that is inside us. We call on it and it calls to us. This is the gift that Australia is thirsting for. It is something like what you call ‘contemplation’” – Miriam-Rose Ungunmerr-Baumann, Ngangiwumirr Elder
In a culture where everyone is so well practiced at listening that it becomes a spiritual art, it makes sense that when trauma occurred the people would come together and deeply listen to each other. For this reason, Dadirri also refers to a form of group trauma healing that brings the deep presence found in the solo practice of Dadirri to a group setting. According to Prof. Stan Grof, trauma healing comes from finally completing an experience emotionally that may have been physically completed long ago. The initial moment of pain may have become so overwhelming that we make a subconscious decision to ‘check out’; in other words, we emotionally dissociate. Every part of us screams “Stop, I don’t want to feel this!” The problem is that we don’t stop the emotional experience, we just press pause.When we don’t have the courage or skills (because we are too young, or were never taught) to actually feel all of the emotions of a traumatic experience, we inadvertently trap the part of it we couldn’t handle, and store it away for later. Dadirri is a practice that allows us to open up this trapped pain and trauma in a sacred and held space and with the support of those around us, we can finally feel it in order for it to be released. The importance of a practice like Dadirri is that it is completely based on non-judgment. Over time, the story is shared on multiple occasions, and by doing so the telling begins to change. The emotional charge is released a little at a time as the circle around them offers an unwavering reflection of loving acceptance. Very often, the person who has suffered trauma starts to adopt this attitude of loving acceptance toward themselves. “Healing country heals ourselves, and healing ourselves heals country.” – Prof. Judy Atkinson – Jiman / Bunjalung woman It is said of those Indigenous Australians who possess a strong connection to country, that they are so grounded it is as though the land is talking to you through them.
Painting of Truganini, c. 1833