WELCOME TO 'YOLNGU WORLD'

slow travel in arnhem land, australia traditional landowners Yolngu people event garma festival hosted by Yothu Yindi Foundation (YYF) interview with Denise Bowden (CEO, YYF & Director, Garma Festival) photography contributed by Peter Eve, Melanie Faith DovE & Teagan Glenane (YYF)

ANCIENT, REMOTE, UNSPOILT, SLOWLY TRODDEN AND SOFTLY SPOKEN… ARNHEM LAND WHISPERS IN RHYTHM WITH THE TRADITIONAL OWNERS OF THIS SACRED LAND, THE YOLNGU PEOPLE. ARNHEM LAND IS ALSO PRIDE OF PLACE FOR THE GARMA FESTIVAL, AUSTRALIA'S PREMIER INDIGENOUS ANNUAL EVENT AND CHERISHED CULTURAL CELEBRATION OF THE YOLNGU PEOPLE OF NORTHEAST ARNHEM LAND IN THE NORTHERN TERRITORY, HOSTED BY THE YOTHU YINDI FOUNDATION. THIS ONCE-IN-A-LIFETIME IMMERSIVE EXPERIENCE UNITES THE ANCIENT 'YOLNGU WORLD' AND THE 'BALANDA WORLD' (WHITE MANS WORLD) AS ONE, AND PROVIDES A TRULY UNIQUE ENCOUNTER WITH THE OLDEST CIVILISATION ON THE PLANET! SADLY, GARMA HAS BEEN CANCELLED TWO YEARS IN A ROW, (PANDEMIC PROTECTION), BUT THIS IS AN EXTRAORDINARY ACTIVITY TO INCLUDE IN FUTURE TRAVELS DOWN UNDER!

ANCIENT, REMOTE, UNSPOILT, SLOWLY TRODDEN AND SOFTLY SPOKEN… ARNHEM LAND WHISPERS IN RHYTHM WITH THE YOLNGU PEOPLE. THE TRADITIONAL OWNERS OF THIS SACRED LAND. ARNHEM LAND IS ALSO HOST TO THE GARMA FESTIVAL, A CULTURAL CELEBRATION OF THE ANCESTRAL HERITAGE AND TRADITIONS OF THE YOLNGU PEOPLE. PLEASE TELL US ABOUT THE TRADITIONAL WAY OF LIFE OF THE YOLNGU PEOPLE.

Culture remains strong in Arnhem Land, but Yolngu people proudly walk in two worlds… the Yolngu world and the Balanda world, (white man’s world). Outsiders might be surprised how seamlessly Yolngu people navigate between the two. Most would tend to think in extremes, a person is either living a traditional way of life, or not, but Yolngu people very much combine the two.

IF YOU COULD DESCRIBE THE FEELINGS THAT SURFACE WHEN STANDING INSIDE THE VAST WILDERNESS OF ARNHAM LAND, WHAT COMES TO MIND?

For First Nations People, nothing quite compares to the feeling of being on country, regardless of where that is, and the same can be said of Arnhem Land. It has tremendous significance for the clans of the region, whose identity is inextricably linked to the land and the sea. Gulkula, the site of the Garma Festival, is connected with the actions of a mighty Yolngu ancestor, Ganbulabula, a master of the ceremonies who brought the yidaki (didgeridoo) into existence among the Gumatj clan.

PLACING THE GARMA FESTIVAL AS THE PREMIER, INDIGENOUS AUSTRALIAN, CULTURAL EVENT TO EXPERIENCE AT LEAST ONCE, WHAT DO YOU THINK THE MOST REWARDING SENTIMENT FOR THE LOCAL COMMUNITIES OF ARNHEM LAND IS, TO KNOW THAT THEIR AUSTRALIAN DREAMTIME STORY IS AN ANCIENT WONDER OF THE WORLD, SACREDLY REGARDED AND ADORED BY MILLIONS?

Garma is a chance for people to learn about Yolngu culture. Workshops throughout the day allow guests the opportunity to sit with senior knowledge-holders and become acquainted with different aspects of that, from language and kinships lessons, to weaving, spearmaking and jewellery craft. There is an important cultural exchange taking place. An education of sorts for our visitors. But Garma is also about shaping the policy and political debate, and ensuring that Yolngu voices are heard in the national conversation on issues affecting Aboriginal and Torres Strait Islander people.

AS THE FOUNDING EVENT ORGANISERS OF THE GARMA FESTIVAL, PLEASE TELL US ABOUT THE YOTHU YINDI FOUNDATION? WHAT DOES ‘YOTHU YINDI’ AND ‘GARMA’ MEAN?

The Yothu Yindi Foundation was established in 1990 to promote Yolngu cultural development with community leaders and persons of authority from five regional clan groups: Gumatj, Rirratjingu, Djapu, Galpu and Wangurri. The mission of the Yothu Yindi Foundation is for Yolngu and other Indigenous Australians to have the same level of wellbeing and life >

PREVIOUS PAGE: Garma is held on Gumatj land in Arnhem Land, Northern Territory and the Gumatj clan dancers perform the opening ceremony each year. THIS PAGE FROM LEFT: A Gumatj boy painting up for the daily bunggul (traditional dance); Denise Bowden, CEO of YYF and Director of the Garma Festival.

FOR ALL BOOKINGS & ENQUIRIES PLEASE CLICK THIS PAGE.

Photo Melanie Faith Dove

CLOCKWISE FROM BELOW: The Gapan Gallery features artwork from established and emerging local artists in a stunning outdoor gallery among the trees; Skilled Yolngu artisans create beautiful, naturally-dyed, hand-woven pieces out of pandanus leaves; A special type of cross-hatch painting technique, known locally as rarrk, is used to execute the fine linework that is such a feature of Yolngu art; The afternoon bunggul (traditional dance) is a highlight of Garma, with guests often invited to join in on the celebrations. opportunities as non-Indigenous Australians. The Foundation is a not-for-profit charitable, public benevolent institution, with an all Yolngu Board of Directors. The words Yothu Yindi translate to ‘child-mother’, and they reference to a relationship which has a special place in the Yolngu world. One that signifies harmony and balance. Garma takes that concept even further… a coming together where the freshwater and saltwater meet, combining and moving forward as one. The first Garma was held in 1999, and was little more than a quaint backyard barbecue, a small-scale affair with only a handful of outsiders. It has certainly grown since those days, but for local Yolngu families, it very much remains a community event and a family meeting place. Garma has three main aims: • Provide contemporary environments and programs for the practice, preservation, maintenance and presentation of traditional knowledge systems and cultural traditions and practices, especially Bunggul (traditional dance), Manikay (song), Miny' tji (art) and ceremony; • Share knowledge and culture, thereby fostering greater >

SLOW TRAVEL FAST FACTS

WHERE DO WE FIND GARMA?

At Gulkula in Arnhem Land on the Gove Peninsula, Northern Territory.

HOW DO WE GET THERE?

Fly into Nhulunbuy from Darwin or Cairns.

ACCOMMODATION OPTIONS

Camping is provided on site. WHAT SHOULD WE BRING?

An open mind and positive attitude.

HOW CAN WE HELP SUPPORT THIS REGION?

Come and say hello. There are lots of great day trips in the area, including cultural tours to visit the homelands.

For donations or future event enquiries please visit yyf.com.au

understanding between Indigenous and non-Indigenous Australians; • Develop economic opportunities for Yolngu through education, training, employment, enterprise and remote Indigenous community development.

THE GARMA FESTIVAL IS AN INTERNATIONALLY RECOGNISED CULTURAL CELEBRATION THAT (PRECOVID) HAS DRAWN IN HISTORIANS, ACADEMICS, STORYTELLERS AND TRAVELLERS FROM ALL OVER THE GLOBE. WHAT DO YOU THINK IS THE MOST IMPORTANT WISDOM THAT A VISITOR SHOULD RETAIN ON LEAVING GARMA (OR ARNHEM LAND), TO TAKE BACK TO THE CONTEMPORARY WORLD?

The beauty of Garma is that everyone will take something different away from the festival, their own unique perspective or understanding. Best advice is to keep your eyes and ears open… there’s a lot going on and a lot to take in. My personal gain has come from experiencing a rich Australian language in Yolngu Matha, and acquiring a deeper understanding of the complexity and sophistication of Yolngu philosophy.

INDIGENOUS COMMUNITIES TRAVEL ACROSS NORTHERN TERRITORY TO GATHER AT THE GARMA FESTIVAL EACH YEAR TO SHARE THEIR KNOWLEDGE AND TRADITIONS WITH ALL WALKS OF LIFE. WHAT ARE THE TRADITIONAL CUSTOMS AND CRAFTS SPECIFIC TO THIS REGION OF INDIGENOUS AUSTRLIA?

The key elements of Yolngu culture are the essence of Garma: Manikay (traditional song); Bunggul (traditional dance); Miny’tji (art); storytelling and >

“CULTURE REMAINS STRONG IN ARNHEM LAND, BUT YOLNGU PEOPLE PROUDLY WALK IN TWO WORLDS… THE YOLNGU WORLD AND THE BALANDA WORLD, (WHITE MAN’S WORLD). OUTSIDERS MIGHT BE SURPRISED HOW SEAMLESSLY YOLNGU PEOPLE NAVIGATE BETWEEN THE TWO…”

DENISE BOWDEN, (CEO, YYF & DIRECTOR, GARMA FESTIVAL)

ceremony. The afternoon Bunggul is a special highlight… the call of the yidaki summoning all to the dance grounds, the rhythm of the bilma (clapsticks) keeping time, and the voices of the song men crying out. There’s also the chance to immerse in the different aspects of Yolngu culture over four days, such as learning how to dye and weave the traditional Yolngu way, and, for women… women’s healing.

IS THERE A LOCAL LANGUAGE OR CUSTOM USEFUL TO KNOW BEFORE ARRIVING TO ARNHEM LAND? WHAT ARE SOME FRIENDLY WORDS OR PHRASES?

A group of languages known as Yolngu Matha is spoken throughout Arnhem Land, and it’s nice to learn a few phrases before coming to Garma. Nhamirri nhe means, ‘How are you?’ Manymak translates to, ‘Ok, good.’ Yolngu Matha shares a number of common words with the Indonesian language, courtesy of the historical trading links with the Macassans. For example, Rupiya translates to ‘money’ in both languages.

MOST RECENTLY, THERE HAS BEEN AN URGENT SHIFT OF AWARENESS TO SUSTAINABILITY, RESILIENCE AND SELF-SUFFICIENCY, WHICH WE BELIEVE IS HOW INDIGENOUS CULTURES AROUND THE WORLD HAVE BEEN SURVIVING OVER CENTURIES. IF THERE IS ONE THING TO BE LEARNT FROM THE CUSTODIANS OF THE GARMA FESTIVAL, WHAT WOULD IT BE?

I don’t think it’s any one thing. Holistically, people who come to Garma leave with a deeper understanding and appreciation of Yolngu culture, but they also take away the ideas, discussions and themes which permeate the festival, and hopefully share those insights with their families, friends and colleagues.

CAN YOU RECOMMEND A SURROUNDING PLACE OR EXPERIENCE TO ADD TO THE TRAVEL ITINERARY WHILE ON A VISIT TO THIS REMOTE PART OF INDIGENOUS AUSTRALIA?

Make sure to pay a visit to one of the many amazing art centres in this part of the world, such as Buku larrnggay in Yirrkala, about 30 mins drive from the Garma site. If you have time, take a trip to Bawaka and Bremer Island. Simply spectacular country and the fishing is ok too.

garma.com.au |

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MAGIC HAPPENS

IN WONDER LAND

STORYTELLER rich manley (TV host & magician) project ‘cultural shock

RICH MANLEY IS A CREATIVE OF MANY TALENTS… FROM ACTOR AND FILM MAKER, TO WRITER, DRUMMER AND STUNTMAN WITH A BLACK BELT IN KUNG FU! HE HAS ALSO STUDIED ANTHROPOLOGY, ARCHAEOLOGY AND CULTURE EXTENSIVELY AND IS A PASSIONATE GLOBAL ADVENTURER TOO. BUT HIS GREATEST SUPER POWER IS… MAGIC! RICH HAS FOUND AN ENCHANTING WAY TO BREAK DOWN CULTURAL DIFFERENCES WITH HIS MAGIC, AND HIS LATEST TV SERIES, 'CULTURE SHOCK' SHARES THESE MAGICAL MOMENTS WITH SOME OF THE MOST REMOTE PEOPLE ON EARTH.

Performing magic for the Hamar people in Ethiopia. It was heartwarming to see their smiles and the joy on their faces. Photo Gökhan 'G' Telci

TADAAAAA… MAGIC ONLY HAPPENS FOR THOSE WHO ARE BELIEVERS. YOUR MAGICAL POWERS AND IMPRESSIVE SCREEN STATUS NOW PLAY A VERY ENDEARING ROLE IN REMOTE CULTURAL COMMUNITIES AROUND THE WORLD. SO HOW DOES IT FEEL TO BE ABLE TO BREAK DOWN LANGUAGE BARRIERS OR CULTURAL DIFFERENCE BY ENCHANTING INDIGENOUS LOCALS WITH YOUR MAGICAL CHARM? AN ENVIABLE TRAVEL SKILL TO BESTOW.

It is a very rewarding feeling. I have always believed that magic is less about the magician and more about the people it’s intended to bring a sense of joy to. Most of the time, when I travel, I find magic to be somewhat of a social experiment. I have noticed many times that when I assume the role of a casual tourist >

Photo © Culture Shock Magic Rich uses magic to break cultural barriers... "What I do with my hands is a projection of myself. It’s the creation of a feeling that anything is possible. That same motivation and mindset trickles into every adventure I embark on. The idea of wonderment and endless possibility is by whole everything we truly seek as humans."

within a particular community or cultural centre, I am treated as such. Many vendors and merchants will try to sell me their wares and souvenirs. However, when I begin to perform for them, they slowing integrate me into their community. Others gather around and soon enough I find myself a guest in the home of an elder, brother, sister… discussing culture, or being introduced to finer workings of their traditions. In a way, my magic is like an ice breaker to let people know... 'This is me and what I have to offer you. I expect nothing in return but your smiles and joy.' It opens up a world of happiness for these people and integrates them into a travellers life. It makes them feel special, like they have just witnessed something extraordinary. It’s a great feeling to inspire that connection.

YOU ARE AN AMERICAN WITH MANY ADMIRABLE TALENTS IN STAR DEMAND. A MODEL, MAGICIAN, DRUMMER, WRITER, ACTOR AND GLOBAL ADVENTURER WHO SEEMS TO HAVE FOUND A WAY TO WRAP ALL OF YOUR SUPER POWERS INTO ONE MESMERISING LIFE JOURNEY. DRAWING FROM ALL OF YOUR ATTRIBUTES AND EXPERIENCES, WHAT HAVE YOU LEARNT TO CHERISH THE MOST? AND WHAT DO YOU HOPE TO SEE MORE OF IN THE WORLD?

I think my study of martial arts and training with the Shaolin monks instilled in me an immense amount of discipline and perseverance, but also compassion, which I believe to be the most important quality. Passion, dedication, determination, resilience and a thirst for ever-growing knowledge are keys to understanding oneself, the world and our place in it. The principles and foundations found in traditional styles of martial arts paved the way for a life dedicated to study, reading, researching, exploring and learning. I consider travelling and the experiences of meeting other cultures as an almost alchemic

“MY MAGIC IS LIKE AN ICE BREAKER TO LET PEOPLE KNOW... 'THIS IS ME AND

WHAT I HAVE TO OFFER YOU. I EXPECT NOTHING IN RETURN BUT YOUR SMILES AND JOY.' IT OPENS UP A WORLD OF HAPPINESS FOR THESE PEOPLE AND INTEGRATES THEM INTO A TRAVELLERS LIFE. IT MAKES THEM FEEL SPECIAL, LIKE THEY HAVE JUST WITNESSED SOMETHING

EXTRAORDINARY.”

transformation. It is something that enriches not only the body and mind, but the soul. In that regard it is not really what I hope to see more of… rather… how many more people I can hope to inspire.

WHERE DID YOU GROW UP, WHERE ARE YOU BASED AT THE MOMENT AND WHERE NEXT?

I grew up in a small town called Stow in Massachusetts. I currently live in Los Angeles. I haven't thought that far ahead yet, however, I assume after I have accomplished much of what I need to here with my film production business, I will veer toward a more natural environment.

LURED TO THE DAZZLING LIGHTS OF LOS ANGELES, TO THE TWINKLING EYES OF ETHIOPIAN CHILDREN BEDAZZLED BY YOUR MAGIC, WHERE DID YOU ACQUIRE YOUR MAGICAL POWERS AND ADVENTUROUS SPIRIT? AND HOW DID YOUR TRANSITION FROM MAGICIAN, TO ACTOR, TO GLOBAL ADVENTURER?

I learned my first magic trick from my grandfather. He was a surgeon in Boston, but also a world traveller and fascinated by culture and travel. I think his spirit is what drove me toward the realms of magic and travel. As >

a kid, I would marvel at the things he had collected in his study. Relics and trinkets from around the world. He reminded me of Indiana Jones’ father and I think deep down I always wanted to do what he did, travel the world, adventure and meet distant cultures. I performed magic on TV and all around Los Angeles but I had always felt something was missing. I wanted to share the magic with the world, with the people I thought truly needed magic in their lives. I travelled to Egypt for the first time with my adventure buddy James Houston. From there, I fell in love with meeting different communities and performing for them. This was the start of the transition for me.

WHERE DO YOU DRAW YOUR MAGICAL POWERS OR INSPIRATION FROM?

Books! I read a lot.

WHEN TRAVELLING TO CONNECT WITH TRADITIONAL COMMUNITIES AROUND THE WORLD, HOW DO YOU HOPE YOUR MAGIC TRANSLATES FOR THESE BEAUTIFUL SOULS TO UNDERSTAND?

I just hope that I can make an inspiring impression on the younger kids in the community. That anything is possible if you have the will. Not just the belief, but the will.

TRAVELLING TO FOREIGN PLACES CAN FEEL PRETTY MAGICAL TOO. IS THERE ONE TRAVEL EXPERIENCE THAT WAS SO PROFOUND IT CHANGED YOU AS A PERSON?

I would have to say my first travel experience… Egypt. As a kid I was fascinated by the ancient Egyptians. To finally be there was a childhood dream come true and fulfilled my need to experience a different viewpoint of the world. It’s what started everything for me and what continues to fuel my fire as an adult.

AT THE MOMENT, EVERYTHING FEELS SURREAL ON MANY LEVELS. AS AN ACTOR OR MAGICIAN, DOES LIFE EVER FEEL SO SURREAL THAT YOU FIND IT TRICKY TO RECONNECT BACK TO REALITY? HOW TO YOU SEPARATE ILLUSION AND HOPE?

I separate myself from this and focus on the things I can control. Like, keeping healthy, training, reading, honing my skills, learning something new and keeping my mind acute and active.

CASTING SPELLS, BEING CAST ON SCREEN, CASTING YOURSELF FAR FROM THE SPOTLIGHT TO REMOTE CULTURAL WORLDS, WHAT HAS BEEN YOUR MOST REWARDING ROLE?

Each and every one of those experiences offers something different. It is hard to separate them as they have all made me who I am today.

‘FALLEN CARDS’ IS A FICTIONAL TV SERIES ABOUT A MAGICIAN WHO DISCOVERS A SECRET WITHIN HIMSELF THAT COULD CHANGE THE FATE OF HUMANITY. CULTURAL SHOCK! IS A

TRUE DOCUMENTARY ABOUT HOW YOU USE YOUR MAGIC TO BREAK DOWN CULTURAL BARRIERS WHILE EXPLORING INDIGENOUS CULTURES. IF YOU COULD WAVE YOUR MAGIC WAND TO HELP INFLUENCE A BETTER WORLD, WHAT WOULD YOU WISH TO COME TRUE?

That people would look outside themselves and their own needs and wants. To focus on the inner and the outward will come. And focus on compassion, for all things.

WHERE DO WE VIEW THE TV SERIES?

Well, Fallen Cards is a creation that started 8 years ago. It is something I

Adventuring in the mountains, pushing the body to its limits, enjoying the beautiful views, is all a form of spiritual cleansing and awakening. It’s all magic. Photo Dominic Gill

created and wrote and have filmed through my production company here in Los Angeles. It is finally coming to fruition as a TV series. I can’t divulge too many details yet but stay tuned!

IT’S A BIT OF A CRAZY WORLD LATELY, BUT IF ONE COULD ADD A LITTLE MAGIC INTO DAILY LIFE WHAT WOULD YOU RECOMMEND?

Take time out to learn something new, and learn it to its completion. Stay focused. Stay vigilant. Find something that interests you and go for it. It will keep you centred.

ANCIENT TRIBES MODERN TIMES

STORYTELLER Sam Thies (film maker & photographer) destination Oro Province, Papua New Guinea project Village of Paradise

'behind the scenes' images contributed by Cieran Murphy kodak brownie archives by (and tributed in memory to) Fred Thies ('PA')

’VILLAGE OF PARADISE’ IS A PHOTOGRAPHIC JOURNEY THROUGH THE REMOTE VILLAGES OF ORO PROVINCE, PAPUA NEW GUINEA, TO DISCOVER A VIBRANT, ANCIENT CULTURE STILL EXISTING IN MODERN TIMES. AUSTRALIAN FILMMAKER AND PHOTOGRAPHER, SAM THIES WAS INVITED TO JOIN THIS PROJECT TEAM. TOGETHER, THEY VENTURED ALONG WILD COASTLINE CARRYING SOPHISTICATED EQUIPMENT IN CUT-OUT CANOES AND TREKKED THROUGH JUNGLES TO REACH EACH VILLAGE WITH THEIR PORTABLE STUDIO. SAM SHARES BEAUTIFUL INSIGHTS FROM THIS UNIQUE, CULTURAL TRAVEL VENTURE.

WOW! ’VILLAGE OF PARADISE’ IS YOUR PHOTOGRAPHIC JOURNAL THROUGH REMOTE VILLAGES IN THE ORO PROVINCE IN PAPUA NEW GUINEA (PNG), WHERE YOU EXPLORED TO CONNECT WITH THE SACRED EXISTENCE OF AN ANCIENT CULTURE STILL SURVIVING IN MODERN TIMES. PLEASE TELL US ABOUT THIS EXTRAORDINARY PROJECT.

Earlier in my photography career I stumbled across a coffee-table book called Man As Art, by British photographer Malcom Kirk. This book is an incredible documentation of PNG tribesmen in the ‘70s. Inspired by this pioneering authored project, as well as the adventure that my grandfather, Fred Thies (‘pa’) experienced in the 1940s, I was compelled to form my own account of Oro Province, in contemporary times. So when the planets aligned, to take a small production crew to the Northern Province on the main island of PNG, I jumped at the chance!

REMOTE PNG IS OFTEN CONSIDERED UNCHARTERED, UNSAFE AND UNKNOWN TO EVEN THE SAVVIEST OF TRAVELLERS. HOW DID YOUR CONNECTION TO THIS UNSPOILT PART OF THE WORLD BEGIN? WHAT INSPIRED YOUR INITIAL VISIT?

To me, PNG is the last frontier and at its closest border, sits only 150 kilometres north of Australia’s coastline. PNG is >

a place where time has shaped life unlike anywhere else. It is a country so close yet so exotically distant, with centuries-old traditions still in existence over modern evolution, that combine to create a living museum. Prior to visiting, PNG was a cultural fascination that I had only read about in books, or seen in photographs and films.

I owe much of this project and storytelling to my late and ‘pa’… Like many men of his generation, going to war wasn’t about patriotism or heroics, rather for a lifetime adventure. A way to escape ordinary life and set out with mates to experience new cultures and see new lands. At the age of 90 my ‘pa’ chose to share his stories of the war with me. He was also a keen photographer and took his Kodak Box Brownie with him. During our chats ‘pa’ gave me an old envelope labelled Early RAAF and inside was a collection of his photos from PNG during the war. But the images were not aerials of Japanese fleets or downed aircraft, or mess halls, sleeping quarters or candid moments with off-duty officers. There was nothing to resemble the fierce battle he lived through. He did have those images too, but the images he saved in this envelope for me were peaceful. In his spare time while stationed at PNG, ‘pa’ would venture from village

ORO PROVINCE

CLOCKWISE FROM TOP LEFT: Our portable studio in situ. On day one, the first portrait session was set high on a headland in the fjords of Oro Province. The scenery was remarkable and it felt unnatural to be closing off the background with our portable white studio; Envelope collection of archive images that 'pa' took with his Kodak Box Brownie; Oro Province, PNG. Map courtesy samthies.com

to village with his Box Brownie. He was eager to learn more about his foreign neighbours and took a series of portraits of tribesmen and women in traditional dress. He photographed young women harvesting crops or tending to the village pig. Children were fascinated by his camera. ‘Pa’ observed their way of life as being simple, yet organised and harmonious. This became a very grounding experience for him on the days before heading to battle. In 2010, I revisited this old envelope of photographs and for some reason they became more important than ever before. It made me wonder how much village life had changed, if at all. I had this great urge to find this out for myself and went on a quest to reconnect with ‘pa’s’ own experience, 75 years ago!

When travelling, I try not to hold too many expectations to a new place, so if any preconceived visions start to alter first impressions, I shift my >

thoughts to imagine what it must have felt like for my grandfather to experience on a similar navigation 75 years earlier.

ARE THE ORO PROVINCE PEOPLE NOMADIC OR DOES EACH TRIBE REMAIN TERRITORIAL TO THEIR OWN REGION FOR GENERATIONS? HOW MANY TRADITIONAL TRIBES REMAIN?

From my observation it’s pretty evident that the people of Oro Province are proudly territorial. Many of which have been preserving their tribal customs in a village based community for centuries. The villages are made up of permanent dwellings with communal spaces and private homes. On visiting this remote coastal region, we were really taken by the local craftsmanship and architectural designs of their traditional housing.

PLEASE SHARE A LITTLE ABOUT TRADITIONAL LIFE IN REMOTE PNG?

We were welcomed at each village with a customary challenge. Tribesmen charged us with spears and intimidating screams. Then asked if we were friends or enemies. Once we confirmed that we came in peace we were treated like royalty. We ate local staples, like baked bananas, sweet potatoes, fish and rice. Many locals chew betel nuts which are a highly addictive stimulant, but we passed on their offers. Village pigs are the highly prized commodity. In fact for centuries, pigs represent the main form of currency between tribes.

YOUR PHOTOGRAPHS CAPTURE WITH DEPTH THIS ANCIENT CURIOSITY THAT CAN ONLY BE REACHED BY IMMERSING FULLY INTO THE LOCAL WAY OF LIFE. PLEASE SHARE YOUR MOST ENDEARING AND ALSO MOST UNEASY MOMENTS.

There are a few. From the first day to our last moments on the island, our local guide’s young son, Lesley Jr. shadowed us to every village that his parents would allow. Everywhere we turned, Lesley Jr was on our heels, offering to carry our gear while observing our every move. I just had to photograph him and wanted to make his portrait special, so when I >

PREVIOUS PAGE: Apart from short runs in a troop carrier, our main method of transport to reach remote villages was either by hiking or canoe. Paddling along the coast from village to village created some magical moments, savoured for a lifetime. THIS PAGE: Lesley Jr. holding the millipede.

spotted a giant millipede curled up on the track, I gestured to Lesley Jr to collect it. It made a perfect prop. What little boys don’t love giant insects? However, his reaction wasn’t at all what I expected. He just looked at me with great concern. I thought it was a communication break down so I picked up the millipede and showed him the pose I was hoping he would adopt. Lesley Jr still hesitated but with his eagerness to be a part of production, he reluctantly held it with great care. The fierceness in his eyes in line with the scale of this millipede created a powerful portrait. So excited about this shot, I showed our guide, whom revealed why Lesley Jr was so reluctant to handle this creature. The giant millipede excretes a toxic liquid that causes a brownish pigmentation or burn when it comes into contact with the skin. No wonder Lesley Jr tossed the millipede and washed his hand swiftly afterwards! Apart from short runs in a troop carrier from our base to the local villages nearby, our main method of transport was via canoe or hiking on foot. Between us, we had five photographic cameras, three video cameras, two large portable studio bags, three tripods and some personal belongings to carry. Watching all of that equipment floating only inches above the ocean as we paddled along the coast from village to village made for some pretty nerve-racking moments. Our portable studio was packed into two large waterproof bags weighing 25 kilograms each. Too cumbersome for one person to carry we enlisted the help of four young porters from the fishing village to help transport the bags to Orotoaba village, which took us half a day to hike uphill under the searing sun. Our porters used a thick piece of bamboo to hang each bag. In pairs, they marched up that hill with the weight of our bags with the bamboo resting on their shoulders. They barely broke into a sweat. Meanwhile, we carried only about 15 kilograms of camera gear on our backs and our shirts were wringing wet only 15 minutes into the trek! We’d met proud women parading their tattooed faces. We’d shaken hands with young men marked with rudimentary tattoos, that reminded me of the charcoal drawings found in the Altamira caves in Spain. I also noticed how the local fishing spears resembled the spears that I had seen in the hands of the Indigenous Australians of East Arnhem Land. Another moment when hiking was while looking around at the grasslands and ahead to the highlands, I remember the air to feel so alive, with native bird calls, insects and a balmy Pacific breeze that rushed movement through the vegetation. It was one of >

those moments that was a feast for all the senses and a great reminder of just how far we were from our modern lifestyles back in Australia. So many memories… We stood eyes closed with a lizard man who magically summoned a wild lizard from the jungle with a ritualised chant. Apparently had we lifted our eyelids before his instruction, the spirits would have sent the lizards away; There were butterflies bigger than birds and a pet Kingfisher tethered to a child like a kite; On shore, sailors stitched together plastic bags to make ‘untraditional’ sails, yet their dugout canoes were still carved from a hollowed-out tree, a tradition practiced for centuries; Tribal costumes were crafted and embellished with boar tusks, cuscus fur, feathers, flowers, shells, leaves and grass and kept in pristine condition. All the kids wore modern ‘pre-loved’ clothing; We watched toddlers wielding knives and witch doctors mixing potions; We noticed locals rolling cigarettes in newspaper and women breastfeeding the village pigs; We were crooned by a bird-ofparadise and soothed by the snaredrum rapping of a tropical downpour on our thatched roof; We were deafened by buzzing cicadas and energised by tribal dancers; We observed children with betel nutstained teeth and Cockatoos with blood-stained feathers. This project captures many of these moments but there are still so many that remain vivid in mind.

WHAT ANCIENT WISDOMS HAVE YOU TREASURED INTO MODERN DAY LIFE?

On the afternoon of our final day a village fisherman paddled us out in his canoe to teach us how the locals fish. Holding a wooden hand reel rigged with a flattened piece of lead, small hook and a single chicken feather as a lure I sat straddling the front of the ‘dugout’ with my feet dangling n the water and my toes close to touching the reef below. I looked around. A tame swell lapped against the canoe and a soft breeze held off the tropical heat. It was the simplest of moments, yet one of my happiest. >

LEFT TO RIGHT: Village girl with pig; Negotiating a fair talent fee was clearly explained by our local guide. For talent featuring their face, it was $50. For talent holding an object and not featuring their face, it was $25. The negotiations were never awkward and everyone who chipped in was fairly compensated, including a pet cuscus with one blind eye and a rescued, blood-stained cockatoo, $25 each.

Basking in that idyllic moment I had time to reflect on our time in Oro Province. Since arriving in PNG, we had been exposed to so much in such a short space of time. And an interesting cultural observation that seems so relevant today: In a village we noted that everyone has a role. That no one has a more vital role than another. Everyone has a different role: to hunt, to gather, to harvest crops, feed livestock, heal the sick, teach the children, clean the clothes, make baskets or bowls, spears or knives. Without each other the system breaks down. One person cannot possibly cover all roles on their own. Decisions are made together but they are adjudicated by a tribal leader. There is a hierarchy that is challenged but respected. Boundaries are set, customs protected and traditions celebrated daily. Every one in the tribes have a place and a purpose. And we saw happiness and harmony from the smallest child to the wisest elder. On that visit, they had everything they needed and knew nothing of what they were missing.

HOW DID YOU GET TO THE ORO PROVINCE? DO YOU THINK IT’S WISE TO PROMOTE TRAVEL TO THIS REGION TO BENEFIT THESE TRADITIONAL COMMUNITIES? IN WHAT WAY CAN A TOURIST SHOW THEIR RESPECT OR HELP SUPPORT THE LOCALS?

We took a flight from Brisbane to Port Morseby and jumped straight onto a short flight to the island of Tufi. It is definitely less risky to avoid a night in Port Morseby. On arrival to the island, Tufi resort is a great place to stay and has a wonderful cultural program for exploring the local villages. The coastal regions are apparently much safer than the highlands, but it’s advisable to always travel with a trusted guide to stay informed on tribal areas and customs. Tufi is also a very popular diving destination and Tufi resort caters for this very well.

FIELDS OF FUTURE

WISDOM

global sense in BALI, INDONESIA game changer Astungkara Way interview with Tim Fijal (Founder) photography courtesy astungkara way

LUSH, GREEN, TERRACED RICE FIELDS MAKE UP A MILLION POSTCARD VISIONS OF BALI. BUT ON GROUND LEVEL, IT'S MORE SIGNIFICANT TO NOTE THAT A FARMER'S HAND HAS PLANTED EVERY SINGLE SEEDLING THAT MAKES UP ALL OF THOSE BREATH-TAKING PHOTOGRAPHIC SCENES. RICE IS CONSIDERED THE 'SEED OF LIFE' IN BALI. RICE FARMING IS A 12TH CENTURY-OLD PRACTICE AND THE 'SUBAK' IRRIGATION SYSTEM (UNESCO WORLD HERITAGE LISTED), IS BALI'S INGENIOUS IRRIGATION SYSTEM ESTABLISHED VERY EARLY IN THEIR CIVILIZATION TO ACHIEVE BALANCE AND SUSTAINABILITY. ASTUNGKARA WAY IS ON A GREAT MISSION TO KEEP BALI'S ANCIENT FARMING TRADITION SOWN INTO MODERN LIFE, FOR GENERATIONS TO COME.

CLIMATE CHANGE AND SUSTAINABILITY: TWO TOPICS ECHOING LOUD AROUND THE WOLRD MORE THAN EVER, AND AT THE TOP OF THE ‘ASTUNGKARA WAY' MISSION. PLEASE SHARE WITH US, A LITTLE MORE ABOUT YOUR VISION…

The primary goals at Astungkara Way are to contribute to climate change mitigation, ecosystem regeneration and community interdependence and resilience, by making farming a compelling alternative to tourism for young generations. We are building a new, regenerative model that can be proven in Bali, then applied in other locations globally where farming needs to regain its importance and take rightful place as a powerful climate change mitigation and localisation tool. Our model is an inclusive one that is meant to empower any individual or organisation anywhere to get involved in regenerative action.

FROM PLANTING THE SEED TO NOW, HOW HAS THIS WONDERFUL BALINESE INITIATIVE GROWN FROM AN ECOSMART IDEA INTO A BLOSSOMING FIELD OF OPPORTUNITIES?

I spent 9 years working at Green School Bali with a focus on finding ways for local and international communities to come together in a symbiotic way to tackle local environmental challenges. This work led me to connecting with a rice farming cooperative in the vicinity of Green School where I was touched by the determination of local farmers despite challenging circumstances. From farming rice with them and listening to their stories, we learned of their concern for the degradation of soil quality as a result of the ‘Green Revolution’… over the past 50 years, chemical inputs have been poured onto their ancestral land. They are realising an urgent need to transition back to natural farming methods, that were the norm before ‘conventional chemical agriculture’ was imposed upon them. But, this shift comes with risks to financial and food security, globally, and especially in Bali. The average age of farmers is getting progressively older and the next generation is not stepping up to steward their ancestral land, to become the providers of food for the future. Farming in Bali is also inextricably linked to their cultural

heritage, community structure, daily life and religion. It would be a tragic loss if the farming tradition is not taken up by Balinese youth. From these grave realisations, a bright opportunity emerged. To engage local youth in the fields by making farming sexy again. What started off as a simple rice-cycle course for international parents of the Green School, has transitioned into a rapidly expanding project with the potential to positively impact local youth and ecosystems, island wide. As a destination population that has become highly dependent on mass tourism for survival, Astungkara Way responds to provide an essential alternative solution that not only preserves traditional farming practice and generates employment opportunities that are meaningful, purposeful and essential in the local food chain, but this regenerative farming program will restore a localised revenue-making industry to rely upon for generations to come.

SUSTAINABLE FARMING IS ESSENTIAL WORLDWIDE.WHY DO YOU THINK THERE HAS BEEN A SHORTAGE OF INTEREST TO BECOME A FARMER IN BALI? IS THIS A COMMON CRISIS HAPPENING ALL OVER THE WORLD?

Yes! The ‘green’ revolution promised radically increased yields with lighter labour and wealth for farmers and their communities. Here in Bali, farmers were coerced to transition from 2 to 3 annual rice cycles, disregarding ancestral knowledge and connection to nature that had been nurtured over more than 12 centuries. Sadly, the result of this green revolution has been badly damaged ecosystems, illness and disease, and a loss of connection with ancestral knowledge. The same has happened the world over with industrial farming methods becoming the norm, and farmers being incentivised to ‘go big or ‘go home’. Indeed, a regenerative revolution to bring back soil quality and biodiversity is urgently required both as a means of mitigating climate change and to ensure our species (and others) have access to the nutritious food they need to survive. So while there has been a shortage of interest in farming on the part of Balinese youth for the past two generations, the time is now to reinvigorate enthusiasm and engagement in agricultural activity. It’s interesting that Covid-19 has been a catalyst for youth to come back to the fields due to high levels of unemployment caused by the plummeting tourism sector. But, with every challenge comes opportunity and the good news is, there is still a large number of small landholders actively farming their own land on this island. So it’s a time when the grandchildren of local farmers are spending educational time in the fields with their elders. They are receiving precious generational knowledge and techniques to preserve cultural heritage and one of Bali’s most sustainable family traditions. The scale of the crisis in the western world is even greater given the radical drop in the number of farmers that occurred in the postwar era. It was at that time that chemical companies were nudging >

out small scale farming operations and consolidating their markets by promoting the monoculture approach that undermined biodiversity and soil quality that we all rely on to survive. The movement towards regenerative agriculture in the West will need to see a large number of smaller scale agriculturalists take to the fields sooner than later. If YouTube is any indicator, it would seem that this revolution is well underway with channels promoting permaculture and natural farming methods spiking with millions of followers.

ARE CHILDREN BEING EDUCATED ABOUT TRADITIONAL AGRICULTURE IN SCHOOLS AT THE MOMENT? HOW DOES ASTUNGKARA WAY HOPE TO INSPIRE THE YOUNGER GENERATION TO UNDERSTAND AND LOVE TRADITIONAL FARMING AS THE KEY TO A HEALTHY AND SUSTAINABLE FUTURE?

Bali’s schools are no different to the vast majority of educational systems on the planet at present. Though much of the most fundamental skills and knowledge that humans require to survive and thrive is not learned through traditional education. I find it very difficult to understand why skills as essential as growing one’s own food are rarely covered in schools. But humans are as much a part of nature as animals and plants. When we return to the field to connect with nature and the source of our food, it is like coming home, and we see this evidence in the glowing faces of both the children and adults who participate in our education sessions in the rice paddies, agri-forests or community gardens. Simply providing humans with a context to connect back to nature is already, we notice having a great impact and something schools worldwide can do to expand education programs. At Astungkara Way young Balinese students are learning on their grandparents’ fields, experiencing for the first time, the farming of rice. This immersive way of learning is very rewarding and must have some influence to instil more relevance of the importance of nature in harmony with a food chain. They laugh and

chat together as they weed across the fields. They make tea from the plants they have grown and boil the water over fire on a traditional stove. They help build bamboo shelters, learn how to cultivate healthy soil and display an innate connection to this ancestral knowledge that they rekindle to traditional farming easily. Youth need mentorship to learn how to obtain good yields using regenerative farming methods. Moreover, they need viable ways to turn their yields into a meaningful income. Astungkara Way is building a mentorship program to train Balinese youth to become successful social, agri-entrepreneurs. This program will provide access to the tools and equipment required to process yields so they can monopolise on valuable secondary bi-products, and also connect participants to a market to sell produce. Astungkara Way wants to address the greatest challenges that farmers have faced since the industrial food system emerged, which is largely having access to the value chain and a market for crops without reliance on a very expensive middle man. We want to see young farmers proud of their work and yields, sustaining their families and communities. It’s really about a localisation movement to create resilience within communities and ecosystems. One we would like to see emerging around the world. No farmers means no food and no future.

LUSH GREEN TERRACED RICE FIELDS MAKE UP A MILLION POSTCARD VISIONS FROM BALI. (THEY MAKE LOCAL FARM LIFE LOOK LIKE A

BEAUTIFUL DREAM). ON GROUNDLEVEL FARMING MUST BE A TOUGH JOB. PLEASE TELL US A LITTLE ABOUT THE CULTURAL SYMBOLISM OF A RICE FARMER IN BALI?

Yes, those images of terraced paddies are all over Instagram and often the only evidence of a farmer in the photos is a silhouette of their conical hat in a field of green. It’s so easy to overlook the fact that a human hand has to reach down into the soil and plant every single one of those millions of seedlings when taking in those awe-inspiring, expansive landscapes. It’s definitely hard work but also a spiritual practice for the Balinese, that defines communal life, ritual and even religion on the island. Rice farming is a perfect manifestation of Tri Hita Karana, the foundational philosophy for Balinese Hinduism. It is sometimes referred to as the recipe for contentment: Tri (three), Hita (causes) Karana (well-being). It’s all about balance. Farmers partake in a spiritual practice in temples in the middle of their rice paddies and shrines to worship Dewi Sri, the goddess of rice and fertility. They acknowledge the unseen and the need to maintain balance between humans and the spirit world that is omnipresent in nature. And through the subak, a 12-century old ingenious and elaborate irrigation system, the Balinese establish balance between humans. Through community and cooperation and a spirit of sharing rarely found in other agricultural contexts, Balinese established this system very early on in their civilisation as a way of achieving

“…IT’S ALL ABOUT BALANCE. FARMERS PARTAKE IN A SPIRITUAL PRACTICE IN TEMPLES IN THE MIDDLE OF THEIR RICE

PADDIES AND SHRINES TO WORSHIP DEWI SRI, THE GODDESS OF RICE AND FERTILITY. THEY ACKNOWLEDGE THE UNSEEN AND THE NEED TO MAINTAIN BALANCE BETWEEN HUMANS AND THE SPIRIT WORLD THAT IS

OMNIPRESENT IN NATURE.”

balance and sustainability in their communities. Important lessons can be learned from the Balinese for a more sustainable way that are far greater to understand than consumer-driven tourism pre-pandemic. Of course, balance between humans and nature is also essential in order to obtain farm yields. The Balinese expertly maintained this balance through the subak and passed down this Indigenous knowledge for over a millennium. But tragically, the ‘green revolution’ upset this delicate balance, now in dire need of being restored. Balinese farmers are the stewards of this priceless cultural heritage for their island. It’s our wish that their status would be elevated for the vital role they play in holding this island culture in balance, and to provide sustenance for the people who live here.

WHAT OTHER KEY CROPS ARE GROWN ON THE ISLAND THAT ASTUNGKARA WAY HAS INCLUDED IN THE PROGRAM AS WAY TO HELP WITH EDUCATION AND SUSTAINABILITY?

We recently stumbled upon a cash crop for a group of our young Balinese Sekolah Subak students… lemongrass! We planted about a hundred stems with a big school group before the pandemic. About a month ago, I looked out at these massive lemongrass clumps and realised we had over a ton of biomass that could be processed into valuable essential oils and hydrosols using distillation equipment. Nature’s abundance is truly awe-inspiring. The kids are now learning about the process of growing healthy lemongrass to extract essential oils in the most effective way. We are confident >

that a lucrative social enterprise is emerging for youth here. But actually, there are so many potential cash crops across this very soil-rich island for young people to learn about and grow. Coffee, vanilla, citrus, seaweed, heritage rice, mangoes, salt, spices, medicinal plants… we have identified over twenty possible cash crops for which we plan to establish partnership projects all across the island. And we see agroforestry having great potential to drive regeneration of biodiversity and healthy soil. We can’t simply ‘aim’ for sustainability anymore. There is so much learning and so many ways to involve youth into the process of sustainable regeneration!

IN TRUE SHIBUI STYLE, PLEASE TELL US WHO MAKE THE TRADITIONAL CONESHAPED, FARMER HATS (’COOLIES’), SO ICONIC TO SOUTH-EAST ASIA?

I buy my conical hats from Ibu Kadek, the owner of a little toko (store) at the entrance of the rice paddies. But now that you ask, I must find out about the artisans who weave these practical and iconic farmers hats. Stay tuned.

ON A DAILY BASIS, FARMERS ARE DEALING WITH UNPREDICTABLE CROP YIELDS INFLUENCED BY THE MOODY ELEMENTS OF NATURE, HARD-YAKKA, MANUAL LABOUR AND OFTEN INTENSE, LONG HOURS UNDER THE SUN OR RAIN. WHAT DO YOU THINK TRADITIONAL FARMERS LOVE MOST ABOUT ‘SLOW

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WORLD’ FARMING AND ALL THE RESPONSIBILITIES THAT COME WITH BEING A KEY PROVIDER TO WORLD FOOD CHAINS?

Ah, perhaps this is the problem. That local farmers and local resources are being exploited to provide ‘world food chains’. The world needs more small land holders engaging in farming. The more this happens, the more you see biodiversity in local farms and healthy communities that consume their yields closer to home. This way we can mitigate climate change and start to see a reversal in the trend of diseases and illnesses resulting from the chemical food chain that we’ve become entangled in as a species. Traditional farmers in Bali are rediscovering the true wealth of their island by coming back to natural modes to manage their fields. Tumpang sari (known as ‘biodiverse polycropping’ or ‘intercropping’ in regenerative farming circles), is a traditional concept that we hope to help re-establish on the island. Some of the old farmers look at the chaotic rows of our community gardens, packed with all manner of plants living in symbiosis. They smile and exclaim, “Tumpang sari!” This is not the way to feed the masses but we do believe that by allocating a portion of their fields to sustenance farming using biodiverse intercropping methods, that more and more locals will come to appreciate ‘slow world’ ancestor heritage. Not only will this inspire healthier lifestyles, but hopefully more human contentedness. As a species, we are so desperately in need of this now.

HOW DO YOU THINK THE YOUNGER GENERATION REGARD FARM CULTURE ON BALI?

The younger generation have come to think of farming as dirty, uncomfortable, low-status work. Ironically, this impression of farming has been reinforced by their parents who would prefer to see their children in the air-conditioned comfort of a foreign-owned hotel earning a predictable paycheque than under the hot sun succumbing to the capricious will of nature. But we are confident that farmers can earn a better living at farming than they would simply by servicing the tourism industry if they are given adequate mentorship and tools to produce valuable goods and also provided access to local and regional markets. So many young people are returning to the fields to farm out of necessity now due to the economic crisis brought on by the pandemic. The time is now to engage with these young people and support them to find viable ways to become successful agri-entrepreneurs.

If you fancy a pilgrimage experience in Bali, flick to page 82 to learn about the Astungkara Trail.