Gidhal A collection of stories from our First Nations’ people
Gidhal\1
Contents
3 Introduction Margot Shave 4 Brown Envelopes by Alexandria Ellard 6 Joey Laifoo by Indira Laifoo 8 A sense of place by Tyeena Pang 9 A song of the Torres Strait by Dulcie Loban 10 Journey towards Olympic dream: Kydeesha Crawford (Year 12) 11 Yalari partnership helps Aboriginal and Torres Strait Islander students pursue their dreams 12 Q&A with Year 7 students 13 Greedy Goba: a traditional story from Badu Island by Ella Nona 14 Me, my Dad and my Aka by Sofia (Wini) Nona 15 A pioneer in the struggle for Aboriginal rights Shemyliah Ahmat by Margot Shave 16 Recipes from the Torres Strait Islands 18 A conversation with Carol Vale Sharni-Rae Vale 19 Education is key by Bella Griffiths 20 Queensland Art Gallery Excursion Noel Peinke 22 kuril dhagun by Kyra Mulvany-Stanley 23 My Great-Grandfather by Nadia Seriat 24 My little town in the middle of nowhere by Charlea Smith 25 Oodgeroo Noonuccul by Charli Jones 26 Creating the plan 28 Never forget where you came from by Elyne Tighe 29 Welcome to country by Rhonda Adidi-Kanai 30 Q and A with artist Edwin Turner by Chantay Turner 31 A childhood book in the Munathirri language 32 Acknowledgements
6
1
3
Where St Margaret’s Aboriginal and Torres Strait Islander students come from.
1
Gidhal (pronounced “Gi-darl”) means stories in Kala Lagaw Ya, a language from the Torres Strait, spoken by eight St Margaret’s Anglican Girls School students. This is a collection of Aboriginal and Torres Strait Islander people’s stories, interviews and artworks shared by St Margaret’s students past and present and their family members. Gidhal is the culmination of a St Margaret’s Innovation Grant received in 2019. It has been compiled by Margot Shave with assistance from Noel Peinke. Cover image: Waterholes and Rivers by Aulpunda (Jean Barr-Crombie), 2015. Jean Barr-Crombie is the aunt of St Margaret’s student Charlea Smith.
2/Gidhal
1
1
1
2
1
1
Gidhal A collection of stories from our First Nations’ people
A representation of art. An acknowledgement of the achievements of family-members and relatives. Gidhal is an original repository of the cultures from the communities of our Aboriginal and Torres Strait Islander students at St Margaret’s Anglican Girls School. Over the course of 2019 and 2020, the Aboriginal and Torres Strait Islander students of St Margaret’s participated in a number of workshops with journalists, listened to Aboriginal storytellers, connected with artists and learnt about the State Library’s efforts to protect the language of First Nations’ people and culture through their archives. They have, in turn, connected with family, friends and members of their community to offer a snapshot of the Aboriginal and Torres Strait Islander people’s cultures they represent. The culmination of these incursions and excursions has seen each student submit a story, artwork, interview or profile to represent their community or family. Students have shared recipes from treasured family cookbooks, photos from home, artworks from family members, who are also internationally recognised artists, and profiles of Aboriginal activists. One of the wonderful outcomes of the project has been a closer connection between the school and the families of our Aboriginal and Torres Strait Islander students, many of them boarders. By honouring the contributions from the students and their families, St Margaret’s has hopefully reiterated our deep respect for Aboriginal and Torres Strait Islander people’s culture. The girls are from ten communities across Queensland, New South Wales and the Torres Strait. Collectively they speak 11 languages. Welcome to Gidhal. These are our stories. Aboriginal and Torres Strait Islander peoples should be aware this magazine may contain images and words from deceased people.
Gidhal\3
Brown Envelopes by Alexandria Ellard, Year 10
On a hot wet Saturday in 2020, Alexandria (Ally) Ellard sat down with Aunty Lesley Williams for tea and scones and a yarn about jam tins, cleaning houses and brown envelopes.
Ally: Thank you, Aunty, for agreeing to tell me some of your story. Can we start with your name and when you were born?
Aunty Lesley: Thank you, Ally. My full name is Lesley Williams; my maiden name was Gyemore. I was born in Royal Brisbane Women’s Hospital in 1946. Soon after the Second World War ended, my parents had separated and my mum went to work as a domestic for the Tritton family (who owned a furniture and furnishing store in George Street, Brisbane) in Yabba Street, Ascot. I had spent my first twelve months with Mum but I grew and started to crawl and get into things. This put my Mum in a difficult position with her employers. With the assistance of Mrs Tritton, arrangements were made with the government authorities to send me to Cherbourg (her Community) where she was born and had grown up. So I was placed in the care of her sister, Naomi, and her husband, Jack Malone, which put me in a very privileged position of having two mums and three dads. Ally: Can you tell me about what life was like in Cherbourg?
Aunty Lesley: My childhood in Cherbourg was great. I had wonderful and caring parents and grandparents. Having lots of brothers and sisters meant that we always had someone to play with. After school and during the school holidays we would go swimming in the creek or play games like marbles or hopscotch with our friends. Sometimes we would explore the bush looking for ‘Gum’ with an uncle or aunty; we were not allowed to go on our own. ‘Gum’ is sap on special wattle trees that grew in the area. Armed with a billy can, made from a jam tin and wire handle, and a knife, we’d run through the bush looking for the tell-tale signs of a shiny trail on the side of the tree. When we found a tree we’d claim it as our own tree and then scrape the rich golden gum into the can. The best time to go collecting gum was after it had rained or after a storm as the rain would soften the gum which made it easier to scrape off. Back home we would wash and soak the gum with sugar added and allow it to set in our billy cans overnight. Once set it became a wonderful mixture, like jelly. I’m always reminded of it whenever I see those Snakes or Gummy Bears in the shops. Ally: Did you have to go to school?
Aunty Lesley: Yes, it was compulsory for us to go to school. Our school was built for the Aboriginal children only. The white children who lived in Cherbourg were bused into Murgon to attend the white school. After completing Year 8, the girls were required to spend a year at the Domestic Science Centre which was designed as a ‘house’. Complete with a bedroom, dining room, bathroom, kitchen and laundry, we were taught how to make beds, polish the furniture, clean the bathroom including the bath-tub and hand basin, mop and polish the floors, wash and sew. We were also required to bake cakes and scones for morning tea for the teachers and school children and hot lunches for the dignitaries from Brisbane when they visited on special occasions. The boys went to Rural School to learn how to make furniture and the Training Farm to learn how to be a farm labourer.
4/Gidhal
The emphasis of this compulsory training was to prepare us to work as domestic and farm labourers on dairy farms, cattle and sheep properties including private homes throughout Queensland. I was raised as an Anglican and can remember every Sunday morning the church bell would ring at 7am to remind us to get ready for Church. The Minister would come from the nearby township of Murgon to conduct Holy Communion once a month for the congregation, including the Superintendent and his family. On the other Sundays, we attended Sunday School and evening services. It didn’t matter if it was raining, stinking hot or freezing cold, we still had to go to Church on Sunday, regardless! Other days, however, were full of normal country kid fun. Ally: How old were you when you got your first job?
Aunty Lesley: In 1963, at fifteen, I started my first job working in the Government Retail Store in Cherbourg, which was the local shop for the community. My job included serving customers, restocking and tidying the shelves and sweeping the floor. I wasn’t allowed to handle money, only the white government official could do that. I was paid 2 pounds ($4.00) a fortnight for working from 8:00am to 5:00pm (with an hour off for lunch) Monday to Friday and a half day on Saturdays. In February 1964, I was sent out west to Condamine by the government officials on a 12-month contract with my belongings packed into a brown port. In my hand was a sealed brown envelope marked with O.H.M.S letters on top and the name of a woman I would work for. Inside was my permission to travel under the Aborigines Protection Act. I was to work as a domestic for a family who owned a sheep and wheat property. I worked very long days cleaning the house, washing and ironing, assisting with the cooking and looking after the younger children. A typical day started before six and finished after eight in the evening. After being there for nine months and missing my family, I was allowed to go back to visit Cherbourg and be presented as a Debutante at the annual show. After spending an extra couple of weeks back in Cherbourg, I was summoned to the Superintendent’s office and questioned about why I hadn’t returned to Condamine. I was informed that I would be going to work on another property at Taroom. I was treated very differently at this place, I wasn’t allowed to live in the house so I slept in a storage shed storing the family’s bulk food supplies and other items. The work was pretty much the same though. During the shearing season my days were even longer, getting up at about 4am to cook a hot breakfast for the men and not getting to bed until after 10 pm each night. This was a particularly hard time and I was paid no more for the extra work. During this time I didn’t receive my pay directly; my wages were paid into my special account at Cherbourg. I wasn’t able to use this money like a normal savings account. If I wanted to withdraw some to buy food, which was considered a luxury for my family, I had to argue with an official to do so. At that time it was easier not to argue with the government officials so we did without instead. When I was about nineteen, I was handed another brown envelope marked with a different name on the front and was told I was going to Brisbane. I boarded the train one late evening in Murgon carrying the same brown port filled with my belongings, and settled in for the overnight journey to the city. That is how I found myself in 1966 standing alone on a platform at Roma Street Station in the very early hours of the morning hoping someone would recognise me. Fortunately, the brown envelope did the trick as the friendly face that walked towards me had been looking for it as well. I was taken to my new home in East Brisbane where my days where filled in the same way they had been at my previous jobs.
Not long after, I changed jobs again and I started working for a lovely lady in Botany Street, Clayfield. Andree would go on to become a life-long friend. My duties were the same as always, except Andree worked alongside me to get the jobs done quickly in the mornings so we could do more fun things in the afternoon. Thursdays were our one day off. I’d meet up with other girls who also worked in the area and we would go out together as a group to places like Festival Hall to watch the Roller Derby or to the movies. Sometimes we would spend time in my room at Botany Street, which was downstairs and quite separate from the rest of the house, gossiping and just having fun. Ally: Were you paid for your work?
Aunty Lesley: Yes, I was paid about $7 a week plus keep. Of this I was given about $3 “pocket money” and the rest was put into a special savings account controlled by the government, in my name. To access this money to buy a dress I would catch the tram on Sandgate Rd and ride into the city making my way to a government building in George Street to see the “Protector” who could approve my spending. I would then have to justify my reason for the new dress and if approved I was instructed to walk to the other end of George Street to the McDonnell and East Department store – a building still there – where I could select a dress. The store would then invoice the Department of Native Affairs directly for payment, as I was not allowed to handle large amounts of money. It was much later in my life when necessity pushed me to start questioning what happened to the money in my special account – the money the government said was held in trust for me. This started my nine-year campaign to have the government acknowledge the misapplication of the money held in trust which then lead to the Queensland Government making an historical offer, in May 2002, of $55.4 million to all Indigenous workers who had their work and savings controlled.
Ally: How long did you work as a Domestic Servant after coming to Brisbane?
Aunty Lesley: About seven years in total. I stopped working when I married which was about the same time as the Aborigines Protection Act was being quietly phased out! I remember some of our elders still carried their brown envelopes containing their Exemption Card for fear of being asked to produce it by a government official or police officer. While the government forced me to become a domestic servant and controlled so much of my young life, my later years have allowed me to influence government decisions as a Public Servant and also as an activist for human rights. I have also been involved with an International National Geographic project investigating the DNA journey of my ancestors. In 2004, as part of Cherbourg’s centenary celebrations, my sister Sandra Morgan and I came up with the concept of having the Ration Shed renovated and established as a museum. With the success of the Ration Shed Museum we were able to secure from the Cherbourg Aboriginal Council other buildings of historical significance including the Superintendent’s Office, Boys’ Dormitory, Domestic Science Building and CWA (Country Women’s Association) building now ‘the Arts Centre’. These buildings, including the Ration Shed, are part of the Cherbourg Historical Precinct. It now gives me great pleasure to know that the museum has been a huge success! I still live in Clayfield, just around the corner from Botany Street, and I remain very close to the other girls who I worked with in the 1960s and my former employers. Thank you Ally for inviting me to share my story with you. Read more about Lesley’s story in the book ‘Not Just Black and White -A Conversation Between a Mother and Daughter’ which she co-authored with her daughter Tammy Williams.
Gidhal\5
Joey Laifoo
by St Margaret’s Alumni, Indira Laifoo (’19) The intricately carved hieroglyphs used by the Ancient Egyptians on their pyramids were a catalyst for Torres Strait Islander artist Joey Laifoo to explore the stories of his people. “I saw how the artists there had used the knowledge of the time and captured this in pictures and thought that we could do something similar in the Torres Strait,” he said. “I wanted to document these stories and also the big changes in knowledge from different generations.” Joey travelled to Egypt on a government scholarship in his early twenties after studying visual art at TAFE in Cairns. “At the time I thought if I can record these stories in my art, then the young people have a template to learn from,” he said in an interview at St Margaret’s as his daughter, Indira, graduated from school. Today, Joey is an internationally recognised Australian artist with works in the National Art Gallery, the Queensland Art Gallery and in galleries overseas. He has travelled extensively with his art and hosted workshops in Jordan, Morocco, India, Germany and throughout the Pacific. For Joey, his inspiration comes from his Uncle, Athe, Harry Nona, a famous Torres Strait Islander artist who had similar interests – hunting, fishing and being with family. He also draws on stories from his Mum about his family and events from his childhood in the Torres Strait. Joey’s most valued work is the Pearl Diver which documents the experiences of his grandfather and 22 other Torres Strait Islander pearl divers. After interviewing each diver, he wove their stories into the lino-cut artwork. Each intricate symbol represents an element of knowledge or celebration of the way of life for his people during this time. Two of his artworks have been included in this publication, Horn Island and Drag Net. “To me it’s really important that we tell the stories of my grandparents and great-grandparents and pass down this knowledge from generation to generation,” Joey said.
Drag Net – shows men fishing for trevally, an every-day fish. Mangroves, crocodiles and turtles are represented in the artwork, along with the warning not to fish in the quarter moon as alligator fish could tear the nets.
6/Gidhal
Horn Island – shows the story of the men travelling by bus to the jetty at Horn Island to fish in the quarter moon. Schools of sardines swim underneath the jetty, waiting for the wind to change.
To me it’s really important that we tell the stories of my grandparents and great-grandparents and pass down this knowledge from generation to generation. Joey Laifoo Gidhal\7
A sense of place by Tyeena Pang, Year 12
In this moment, I hear the birds chatter and whispers of our ancestors’ voices as soft as the trees dancing with the wind; the trees and wind in a perfect duet singing us songs as we sit on the bank with our reels in hand; the fish and yabbies ready to dodge our hooks and pots. Our family sits around the fire telling stories and laughing. While cooking dinner, a warm, comforting hug from the fire enwraps us and the well anticipated smell of dinner teases me.
Laying beneath the stars in our swags, beautiful twinkling lights cover the night sky in every direction. We sleep to the soothing sounds of the bush, then wake in the morning to the gossip of the birds – like an alarm they are right on time, resting high in the paperbark trees. These great trees conceal the beautiful oasis with shade and protection. When I look upon my country, Waanyi land, an oasis amongst the desert country, you can see Boodjamulla, the rainbow serpent who formed the great river and gave sustenance to the surrounding vegetation and animals. This country is sacred to many people. For me it adds to my cultural identity and internal feeling of connection to land. It is part of who I am, both my past and future. This is my country, my home.
8/Gidhal
Moving to the city was like waking up from a dream.
Looking through my window I see many lights, not the lights I remember. I strain my head to find the beautiful twinkling lights from my home, finally realising they aren’t stars. They are buildings and houses. No star in sight.
The trees still dance in the wind but not to the voices of my ancestors. They move to the breeze of cars and trains.
The internal feeling of disconnection and isolation bubbles inside of me. This was a choice I made, and I have been determined from Year 7 to see it through. There were many challenges and doubts faced that made me question myself and my ability. However, through the endless support from my family I overcame these struggles. This might not look like that beautiful river, have as many stars or sing the sweet melodies of the bush, but I am surrounded by family. I have gained so many more stories and laughs from this new place. It has filled me with hope and curiosity.
Wherever life takes me, I have the knowledge of both places to guide and strengthen me in my future endeavours.
A song of the Torres Strait by Dulcie Loban, Year 8
Back home on Badu Island, all the little kids learn a song and accompanying dance when they are in Kindy. They perform it as part of the school’s cultural celebrations every year. The dance is performed sitting down and uses hand gestures. The song, Argun Bay, is sung in Kala Lagaw Ya, a traditional Torres Strait Islander language. The song describes how the weather is calm and still. The little islands at the back of Badu near the beaches of Gaubuth, Dhamanab and Argun look beautiful. They are searching for wind; the wind out on the ocean; they long for the kuki winds (North-West winds) to come. I am part of the Argun tribe and we often go to Argun Beach on weekends for fishing, hunting and relaxation and to connect with our land.
ARGUN BAY
Laga ina laga kala idipudhema, Gaubuthuya, Dhamanabya, Argun Bay Meogi lagal a kapu ngadhasinu Guban tira, tira matha lumayk Gub sipa, gabyudema Kaypaypa dhadha malu Yagar gub kuki Gidhal\9
Journey towards Olympic dream: Kydeesha Crawford, Year 12 Playing any sport at an elite level takes sacrifice – something Kydeesha Crawford and her family know all too well. Swimming at a national level, the Year 12 boarder trains 11 times a week before and after school. She first moved to St Margaret’s in Year 9 on a swimming scholarship. Kydeesha’s parents, Natasha and Timothy, drive from the Sunshine Coast to St Margaret’s twice a day to take Kydeesha to and from swimming training. In between these sessions they work and catch up on sleep. “We would leave home at 3:45am in the morning and head down to take her to training,” Mrs Crawford said. “I think we just went into survival mode; we knew she was committed to the sport and were happy to provide the transport as this is was what it took to get to the next level.
Family is paramount to Kydeesha and she is aware of the advantages she has had both from her family and from gaining a scholarship. “Support from families, friends, boarding and coaches is so important. If you had a disadvantaged kid trying to get into swimming, it would be hard as swimming isn’t a cheap sport,” she said. “I’d like to see more Aboriginal children given opportunities in sport in general, not just swimming. Remote locations don’t have the resources or financial support we have in the big cities.”
“At no point did Kydeesha ever say she wasn’t going to train tomorrow, so we were prepared to support her all the way,” Mrs Crawford said.
“The advantage of being committed to a sport is that it teaches commitment, discipline and respect, values you can apply to all aspects of your life whether at school or in your future workplace,” Kydeesha said.
The family has always been interested in sport. Kydeesha’s brother Cadel plays rugby league competitively and recently broke nine Australian records for power lifting in the under 15s category.
While swimming at the Olympics is a dream, the teenager has an active plan B, which she says everyone should have. After school Kydeesha is interested in joining the police force and pursuing a career in forensics.
The move to boarding school wasn’t an easy decision for Kydeesha who knew it would be a big adjustment being away from home.
“It’s only the top one percent who make it, so you need something to fall back on,” Kydeesha said.
“At times it was stressful because everything was on me. You have to manage everything to maintain your scholarship, knowing that I had to perform to keep my grades and perform in the pool as well.
10/Gidhal
“Mum knew that I wasn’t coping, due to my personality change (I just wasn’t myself). After arranging a meeting with senior staff and Aunty Gene, strategies were implemented to accommodate my situation and busy schedule,” said Kydeesha.
Margot Shave
St Margaret’s Yalari Graduates
Yalari partnership helps Aboriginal and Torres Strait Islander students pursue their dreams St Margaret’s has proudly partnered with Yalari for more than nine years to educate and empower Aboriginal and Torres Strait Islander students. In that time, more than 13 Yalari students have graduated from St Margaret’s and gone on to follow their passion, pursue their goals and achieve big things. Here are the stories of just some of our Yalari graduates.
Taneale Lawton (’14) Shaquille Close-Knight (’14) Jadalyn DeBusch (’15) Rachyl Cameron (’15) Jazleen David DeBusch (’15) Brianna Cameron (’16) Monique Mallyer (’16)
Raelene Pearson (’16) Jondayah Martin (’17) Kealey Griffiths (’18) Rhiannon Revell-Blair (’18) Johanna Loban (’18) Indira Laifoo (’19)
Rhiannon Revell-Blair (’18) 2018 Yalari graduate Rhiannon Revell-Blair is tackling her dreams, representing Australia in the Prime Minister’s XIII Women’s rugby league side. Rhiannon, who has represented Australia in both rugby union and rugby league and represented Queensland in the first women’s State of Origin side, was dedicated to her passion and her goals as a student at St Margaret’s, training six days a week, before and after school.
Taneale Lawton (’14) Yalari alumni Taneale Lawton is a proud Bidjara woman from Charleville in South West Queensland. Taneale graduated from St Margaret’s as Valedictorian in 2014 and says she never imagined at that time she would be studying at university. “I’ve had an incredible couple of years since graduating from Maggies and I wouldn’t change the path I have chosen – Gap year, acting, working at Yalari and now here.” Now, Taneale is completing a Bachelor of Business majoring in Human Resource Management at Queensland University of Technology. “In addition, I have had the fortunate opportunity to work at Davidson in the People and Culture sector. This work experience has played an integral role in my studies enabling me to apply my knowledge and understanding in the real world,” she said. “I see myself as a lifelong learner and I’m constantly chasing opportunities to learn and grow whether that be through education, health or paying it forward. Yalari continues to play a pivotal role in my life allowing me to stay connected to my fellow alumni, provide opportunities to enhance my leadership skills and to meet our current scholars and inspire them to continue with their educational journey. Each year I meet new scholars that are starting at Maggies and I always let them know that I’m here for support and guidance. I always look to them with the saying “If I can do it, you can too”. I definitely wouldn’t be where I am today without the support from my Yalari family or the Maggies community.”
Jazleen David DeBusch (’15) Yalari and St Margaret’s alumni Jazleen (Jazzy) David DeBusch is a Southern Kaanju woman from Eastern Cape York in Far North Queensland and was awarded a Yalari scholarship to attend St Margaret’s in 2011. She graduated in 2015 as Boarder Captain, Perfect and Drama Captain. Jazleen has since been studying a Bachelor of Fine Arts (Acting) at the Queensland University of Technology. She says St Margaret’s ignited her passion for the arts. “St Margaret’s gave me an opportunity to be immersed in the creative arts. My passion and love of the arts was discovered in Drama with Ms Chaplin, Visual Arts with Ms Smith and English with Mr Peinke. “I loved challenging the status quo and breaking down stereotypes within my community at St Margaret’s. I felt that I had a unique standpoint and I felt appreciated and supported throughout all of my creative endeavours,” said Jazleen.
Gidhal\11
Q&A with Year 7 students
Cheyanne Yamashita Where are you from: Thursday Island
Do you speak any other language other than English: Creole.
Favourite memory as a child: I went on a cruise ship last September to New Caledonia. First Impression of St Margaret’s: I think St Margaret’s is a really fun school, everybody is really supportive and nice. Kyara Bashfort-Harmston Where are you from: Tara, QLD
Do you speak any other languages other than English: No Favourite memory: My Dad teaching me to fish.
First impression of St Margaret’s: It was crazy at first and then we started to get to know each other and it started to ease.
Tamara Harrison Where are you from: Mount Isa
Do you speak any languages other than English: No Favourite memory as a child: When my Dad taught me to ride a horse.
First impression of St Margaret’s: I think St Margaret’s is going to be fun! Aaliyah Turner Where are you from: Torres Strait
Do you speak any other language other than English: Creole Favourite memory as a child: Playing around with friends and families (like playing football).
First impression of St Margaret’s: I like St Margaret’s. It’s lots of fun and the boarding house is ok. These artworks from Kyara are all painted by her grandmother, Jacque Carter – O’Leary. The artworks depict her childhood and travel she did with her father, growing up. 12/Gidhal
Greedy Goba: a traditional story from Badu Island by Ella Nona, Year 8
The people of Argun caught many turtles and from the turtles oil was made. On the other side of the island at Kotaid, the villagers prepared biu sama (balls of mangrove pod pulp) to eat. The Argun people sent some delicious oil to their friends at Kotaid with a man named Goba, and in return they expected some biu sama. Likewise, the people of Kotaid expected oil for their biu sama. Goba was very hungry and became very greedy. When he carried foods between the two groups he took most of the food and ate it himself. Each time he visited a village, he would feed himself first and only give them left overs. Eventually the villagers grew suspicious and some of the men from Argun followed him to Kianplay (middle of the island) to check on what he was doing. They found out about the stolen foods and Goba was stoned to death. Now his grave is a pile of stones on Badu. Each time we pass by we pay respects by letting him know that we are passing by and we are not here to cause harm. Goba is now known as Greedy Goba and the people of Badu will tell someone who is taking more than their share to not be like Greedy Goba.
A Mother-Daughter conversation about culture Ella Nona: Why is culture important to you?
Sophie Nona (Ella’s Mother): Culture is important to me because it’s our everyday way of life. It includes our values, beliefs, customs, languages and is reflected in our history. Culture also identifies where I’m from and my traditions. Ella: Why is dancing and singing significant to our culture?
Sophie: Singing and dancing is important in our cultures because it defines us. When the singers are singing, the dancers tell a story through their actions. When they are dancing it also identifies which island you are from because every island has their own unique dancing and singing. Ella: Where are we from?
Sophie: I am a Badulaig. My athe’s (grandfather’s) father was from Samoa and his mother from Saibai Island but both were accepted by Badu families and were made Badulaigs because my athe’s brothers did a lot also for Badu so we are proud Badulaigs. Ella: What is our Clan or Tribal name?
Sophie: My family’s Clan/Tribal and which is also our Totem is ‘Tabu’ (snake) and our colour is red, which represents the clan and our surname ‘Nona’.
Gidhal\13
Me, my Dad and my Aka by Sofia (Wini) Nona, Year 8
About Me
About my Aka
Name: Sofia-Winifred Tequila Saray Nona (Wini) Date of Birth: 18th May 2007 Age: 13 years
Name: Ella Nona Snr. (nee Nomoa) Date of Birth: 15 November 1945 Age: 75 years Family
About my Dad Name: Ronald William Nona (Ron2) Date of Birth: 16th June 1975 Age: 45 years Family
Family
My parents separated when I was two or three but are still great friends for the sake of me and my siblings. I am the fifth of six children with three brothers and two sisters. I am my mum and dad’s youngest child, but my little brother has a different dad. Household
I live in a house with my mum, my younger brother and my two older sisters. My two older brothers have graduated high school and moved down south. My dad lives in Perth for work, but he still owns a house on Badu. Schooling
I attended the local primary school on Badu, Badu Campus. Badu doesn’t have a local high school and so I had to travel down south to finish my schooling. I am currently in Year 8 at St Margaret’s.
My dad’s biological parents were Aka Timena Nona (deceased) and Athe Ronald Russel but he was given to Aka Ella and Athe Collie Nona (deceased) who he grew up with. My dad is the fifth of nine children with six brothers and two sisters and the father of five children with three girls and two boys. His parents were married for 38 years until Athe Collie sadly passed in 2010. Household
As a child, my dad lived in a house with his parents and his siblings. When my mum had my eldest brother, Laurie, my mum and dad moved in together. When they had my other older brother, Walter, they moved into another house, and then another house when they had my older sister, Layna. But when they had me, they stayed in the house they moved into when they had Ella. My dad lived with my mum for a few years until they separated, and my dad moved out and found his own house. When he still worked in the Torres Straits, me and my siblings would go and sleep there every now and then if he was on the island. He got a job at the mines in Perth and he moved there, but he still owns the house on Badu. Schooling
My dad went to Dogai Primary School. He travelled down south for high school, attending Scots PCG in Warwick. After graduating he moved back to Badu for work.
14/Gidhal
My Aka’s parents were Athe Manuel Nomoa (deceased) and Aka Naila Nomoa (deceased) and she was the eldest of five children with two sisters and two brothers. She married Athe Collie Nona April in 1968 and stayed married for 40 years until Athe Collie sadly passed in 2010. She is the mother to nine children with seven boys and two girls and has a lot of grandchildren. Household
As a child my Aka lived with her parents and siblings until she moved in with her husband and children. In 2001, she and her husband moved to Cairns until Athe Collie passed. After his death, she moved back to Badu for a few months until she moved to Cairns where she now lives with a few of her grandchildren. Schooling
For primary school my Aka attended Badu Island School, but she was unable to attend high school.
A pioneer in the struggle for Aboriginal rights Shemyliah Ahmat, Year 9
Joe McGinness was an Aboriginal activist, truck driver, soldier, fisherman, and great-great grandfather to Shemyliah Ahmat. Before passing away in 2003, the 89-year-old was recognised as a well-known Indigenous rights campaigner and awarded an Order of Australia. Joe was born in 1914, at his parents’ tin mine, 50 km south of Darwin. His mother, Alyandabu, was from Kungarakany people from the Northern Territory and his father, Stephen McGinness, was an Irish Immigrant. Joe was the youngest of five children and lived with his family until he was four years old, when his father died. Without his European father, the lease on the tin mine was forfeited and Joe and his brother Val became wards of the state and were removed to Darwin’s Kahlin Compound. In an interview with the Australian National Museum before he died, he described Kahlin as being ‘a place of severe deprivation’ (National Museum of Australia n.d.).
During the 1967 Referendum, Joe travelled the country to encourage people to vote ‘Yes’, which raised ‘the expectations of Aboriginal and Non-Aboriginal people, regarding Aboriginal rights and welfare’ (Thomas 2017). Reflecting on his work in an interview, Joe said: “There were various organisations that supported our request for a referendum to have equal rights: church groups, unions and everything, but we had to get around for six or eight years campaigning to get that support, which proved very effective, I think. Ninety percent of the population voted for this constitutional change: church groups and everything else.” (National Museum of Australia n.d.)
Joe left the institution at 13 years of age and worked as roustabout, truck driver and trepang fisherman in the waters around the Torres Strait. He met and married his first wife, Jaura Ah Mat, who died four years later. He had two children from this marriage, Elsie and John. After surviving the Darwin bombing in 1942, Joe joined the Australian army and served in Borneo during the Second World War. After the war, he met his second wife, Amy Nagas, and had three more children; Sandra, Raymond and Samuel. He gained work on the wharves in Cairns and became a member of the Waterside Workers’ Federation. From here, Joe’s political career began to take shape and he became secretary of the Cairns Aboriginal and Torres Strait Islander Advancement League when it was formed in 1959. Throughout the 1960s, the League instigated several federal investigations including querying why many Aboriginal people were not receiving their Commonwealth Tuberculosis Allowance and helped to mount investigations into abuses of the Queensland Trust Fund. The Cairns League’s activism coincided with a national movement of Indigenous Activism and a national agency was formed, the Federal Council for the Advancement of Aboriginal and Torres Strait Islanders (FCAATSI). Joe soon became their national president and served in this role for 17 years (Kooriweb 2003).
Under Joe’s leadership, FCAATSI had several wins for Aboriginal and Torres Strait Islanders and fought for wage equity, legislative reform and an early push for land rights. In his later life, he became a key figure in the development of the Department of Aboriginal Affairs and continued to be a strong voice for Indigenous rights. Returning to North Queensland, Joe became regional manager for Aboriginal Hostels in Cairns and continued to help establish organisations to represent Aboriginal and Torres Strait Islander people. Australian Senator Patrick Dodson is quoted on the Koori website (2003), remembering Joe: This grand old man has been the inspiration to many of us who have joined in the battle for justice. He has provided wisdom and advice, guidance and correction, humour and hope. Shemyliah is a fifth-generation relation to Joe and says, “Even though I don’t really know him, I feel we have a strong relation.”
This grand old man has been the inspiration to many of us who have joined in the battle for justice. He has provided wisdom and advice, guidance and correction, humour and hope.
References: Kooriweb 2003, Heroes in the Struggle for Justice: Important People on the Political Struggle for Aboriginal Rights, Joe McGuiness 1914 - 2003, viewed 5 May 2020, http:// kooriweb.org/foley/heroes/biogs/joe_mcguinness.html National Museum of Australia n.d., Joe McGuiness, viewed 7 May 2020, https://www.nma.gov.au/explore/features/ indigenous-rights/people/joe-mcginness Thomas M 2017, The 1967 Referendum, Parliament of Australia, viewed 5 May 2020, https://www.aph.gov. au/About_Parliament/Parliamentary_Departments/ Parliamentary_Library/FlagPost/2017/May/The_1967_ Referendum
Margot Shave
Gidhal\15
Recipes from the Torres Strait Islands from Nadia Seriat’s father’s recipe book
N TCHA A ) L B llfish M A e she l L b i C d er e MUD y oth or an
ams ( ud cl m n e ve oil 3 doz ns oli o o p s le 2 tab iced d on, d i rushe e) 1 on ilabl rlic, c a g p f ava e o ped i v h ( o c l e c , t s 1 acon wn pa hers b e pra s e n 2 ras i Ch spoon flour 1 tea plain s n o o p s 2 tea ar shed vineg s, cru u e i l l ¼c p i ch e s eye n juic 2 bird lemo n o il till o sp hot o n 1 tea t i l a s on spoon d bac 1 tea lic an r a g , onion paste pped o h c awn e r h p t , e y ic and Fr on ju of liquid ned. m e w l o , r l r b fu ga ms. a cup , vine he cla flour r to make f Add t o e t uce wate a pas the sa which s a Make illies. Add n. r e sauce ch ed g wat frypa and ddin th a dark s, garnish a o the s t e t i t t i u i w n u d t i f c d s e i m l a b 30 are n dry er for y l you ved o r e Simm ates, unti uentl s r r ts. ce o n freq owing i o o i l r p l t f a a n e v l r e e to sch top th uld b be pu hopped e y sho ntil they s water for may c e y h l e T : n fi yu ms lted then with he cla er for a da iled in sa omach is sh t e r t st le bo epa sh wa . The ing firm f n be To pr ed fre y may the hells open n g i n a a ch he rem es ud. T til th d the out m hour, un arded an n sc half a d and di e . v o d e m p re op ely ch n i f s i
16/Gidhal
SAUCEP
AN
ed Vege SOP tables)
(Steam
SOP
½ kg ya m ½ kg sw eet pota to ½ kg pu mpkin 1 onion 1 teasp oon salt 115 gra ms fish or fowl 2 cocon uts Taro a nd cas sav includ ed with a may be sub stituted the yam pumpk , or in. , sweet potato and Dice th ev the yam egetables int o1 and sw prevent eet pota 2mm cubes, p lacing them g t oing bla o under wate all the r skin of c to k . Tak the swe to 3mm et pota e care to rem into th o to whic e surfa Warm a h exten ve ce in so ds up banan m e v a a rieties. it pliab leaf ov le and er the h li the dic ot plate ed vege ne a saucepa to mak n tables, e diced m topping with it. Add eat, ch t h o em off pped on Grate t with th ion an he coco e d salt. nuts, a of wate dd abo r to the u t m a cup a coconu t milk t eat and sque nd a h a eze out o almo Bring t s enough lf t cover th o the b e m o il and ixture. are soft simmer . till the vegetab les
COCONUT DAMPER 4 cups self-raising flour ¾ litre coconut milk, more or less Salt Sieve flour and salt together. Mix a dough with the coconut milk to the consistency of a scone mixture. Grease a baking dish, sprinkle it with a light dusting of flour and place the mixture in the dish. Bake for about half an hour and test before removing from the oven.
AMPER ASHES D in flour 3 cups pla g flour lf-raisin se s p u c 3 Water
BANA
NA P AKAL OL
2 kgs O cassa va ¼ cu p sug ar ½ cu p pla i n flo 3 rip ur e ban anas Rind of on e lem Milk on from three coco nuts Peel and grat wate et r till a to the pu he cassav lp ll the a juice and squ . Add a s Stan mall eeze s hav d the th a e bee arro j n col rough a mount o wroo uice to o lecte f l inen ne si t star may d. de a cloth ch w be po n i d l u l r i s n ed of e Add a sh f and ttle and th the c ort time suga e starch disca lear t r, flo to th rded liqui he u e and . d blend r, lemon dry cassa rind va m well. Bake and for a mash ash, plus straw bout th ed ba t . nana e stick When th hree hou s, y. e rs milk Remove cassava i and test f s o r with knife ver the h om the o cooked t he st a broom ven a ot m all th i x n to br ture, e tim d pou raw wil in see it g the oil e. The he cutting i r the coc l be a t o o soak ing i ut of the t of the m with a sh nut Paka n arp i c xture t o o the conu lolo w i mixt t mil the f ure. ridg s very nic k an ill tend e an d e s you w e r d ca ill n be ved with rehe f i s h. It ated will in ho t pea keep in nut o il.
for 15 d knead n a ts n urn for gredie d let it b ll the in n a a h d it n w ugh an sa Mix a do re on cle ight a fi L s. e hot te u min ion in th ss n hour. e a r p lf e a d h a at least nd scoop it. the fire a y in a r w e a p n m Clea the da e c la es. p d es and ash sand an and ash ot sand h e r o hot sand m e r h o it m w h r r wit Cove ises cove amper r As the d . e heat in ur. to keep th in an ho re ashes fi m o fr Remove
Salt
Gidhal\17
A conversation with Carol Vale by Sharni-Rae Vale
Carol Vale talks about her childhood and growing up as a Dunghutti/Gumbaingirr woman from NSW with her granddaughter Sharni. Sharni: What was your favourite childhood memory?
Nan: I have many happy childhood memories, but I guess my favourite ones are those times spent at the river. We used to always be in Kempsey and Tamworth, both of these places have rivers and our family would always join with other family members and enjoy swimming, eating and our old people telling us stories. Sometimes we would camp and have campfires where our aunties and uncles would tell stories and our old Nan (Balu) would always tell us stories of when she was growing up or when her children were growing up. There are many of those stories but one was about how we used to have a medicine man in our family, and he had two medicine dogs – big white ones sort of and when he couldn’t come to help people, he would send those dogs and they would heal the person they were sent to care for. Sharni: What was the mission like?
Nan: I grew up on the mission with my father’s extended family. All of us on that place were related and the descendants of Frank and Sarah Archibald. We used to have to make our own fun which included playing games of rounders and going exploring in the bush for blackberries and other fruits to eat. We would always go
everywhere together as big groups of girls and boys and were never really alone. If one of us was doing something wrong, we would always be told off by one of the aunties and uncles. Sharni: What was your favourite meal growing up?
Nan: Damper and treacle, which is sort of like golden syrup. My Mum was an amazing cook and so pretty much anything she cooked was great. Sharni: Did you have a nickname growing up?
Nan: I had a couple of nicknames including Pod which most of my family called me. Another was Blondie which a couple of my aunties called me and the final one was Callie which my Nan called me. Sharni: What school did you go to?
Nan: The Armidale Demonstration School
Sharni: Do you have any regrets growing up?
Nan: Yes, not finishing school and dropping out. I loved education and learning but social problems contributed to me leaving school, and home, early, which has been my biggest regret.
Carol Vale is a professional facilitator, social researcher and policy analyst with expertise in Aboriginal issues, public policy and stakeholder engagement across a range of sectors. Carol is Managing Director of Murawin Pty Ltd, a specialist inter-cultural consulting and facilitation organisation that specialises in working with a range of clients to enhance organisational capacity by undertaking social research, community consultations, stakeholder engagement and evaluation services.
18/Gidhal
Education is key by Bella Griffiths, Year 10
When I was at home last year, I attended a community event and was lucky enough to meet Dr Derek Chong. He talked about his family’s story and the importance of education. It was a NAIDOC event at the hospital and the theme for 2019 was ‘Voice. Treaty. Truth.’ Dr Chong is a senior psychiatrist and is the first Indigenous psychiatrist in Queensland. He told the story of how his great-grandfather taught himself to read and write by using the Bible at the age of 14 because he had no access to education. Dr Chong grew up being told that education was the key to a better life. He also talked about using ‘our voice’ and ‘speaking our truth’ and what that meant to him. Listening to his family’s story and what he has achieved made me think about how he works with Aboriginal and Torres Strait Islander peoples and their families and has given them ‘their voice’. As an Aboriginal man he understands the history of Aboriginal peoples, his patient’s culture and as a psychiatrist he understands mental health. He was very positive about the future of Aboriginal peoples and he inspired me to follow my dreams and take every educational opportunity available. I am looking forward to attending the NAIDOC 2020 week with the theme ‘Always Was, Always Will Be’ that recognises that First Nations people have occupied and cared for this continent for over 65 000 years.
Gidhal\19
An art excursion
On Wednesday 7August 2019, an excited group of sixteen girls embarked on an inspirational journey into the world of Aboriginal and Torres Straight Islander art. Their first stop was at Institute of Modern Art in Fortitude Valley where the girls were privileged to meet Mandy Quadrio and literally move through, and be surrounded by, her breathtaking work created solely from seaweed. The girls were also privileged to meet with and view the work of a number of local artists. Not only were they able to chat with the resident artists, but in the process they realised that art was more than just pictures on the wall. As they moved through the gallery, they became immersed in a 3D art experience that was thoroughly enjoyed by all the students. The final leg of the trip was to Brisbane Institute of Art where the girls were able to work with Peggy Brown who took them through the process of screen printing, enabling them to create their own works of art. The girls all came away with beautiful creations of which they were all justifiably proud. Noel Peinke
20/Gidhal
Gidhal\21
kuril dhagun
by Kyra Mulvany-Stanley, Year 8 kuril dhagun is the State Library of Queensland’s welcoming place for Aboriginal and Torres Strait Islander peoples. ‘kuril’ is the name of a native marsupial that is found on the library’s site near the Brisbane River (kuril) and ‘dhagun’ means a place or the earth, which translates to kuril’s place. The space is a dedicated cultural and multi-purpose space to inspire community participation and engagement. The library also holds birth, death and marriage records and newspaper archives for people to read. It holds books and videos and paintings in a small gallery we visited. We had the chance to visit the computer room and search for our family members in the records. I found this was a very interesting exercise and gave me insight to my history. On our way there, we passed by boardroom spaces and benches and nooks to meet. Speaking of places to meet, we visited two community spaces. The first one was on the first level and near the gift shop/smaller library. The busking platform was empty that day but I saw a lady performing the last time I visited two years ago. The second place we visited was the talking circle. The sandstone circle was outside and surrounded by vines (native – Faradaya Spledida) and plants. There were also two water dragons that scuttled around, sun-baking. Unfortunately, they were scared away by others. A family of possums also live there, so don’t be afraid. At the library there are meetings, seminars and workshops all the time. We unfortunately couldn’t see or take part in any, but you can sign up for them on the website. One exhibit within kuril dhagun is Jarjum Stories and you can read children’s books from Aboriginal and Torres Strait Islander peoples like the Rainbow Serpent. ‘Jarjum’ means children. Overall, this library is one of the nicest I’ve been too. It’s not just a library; this is a centre and place of learning about your own and other cultures and lives. I thank the teachers, Jennifer Jones and Christina Canendo, the staff who curated everything and most of all the traditional owners and elders of the land we met on that day.
22/Gidhal
My Great-Grandfather by Nadia Seriat, Year 12
My Great-Grandfather (Athe), Mr Wigness Seriat, hails from Mabuiag Island (maternal side) and Kaurareg Nation (paternal side). Although my Great-Grandfather grew up around the time where there were many government policies and events that negatively impacted the identity and culture of Aboriginal and Torres Strait Islander peoples, I envy his strength, pride and courage. He is a strong and proud Aboriginal and Torres Strait Island man who values his faith and belief in Jesus Christ. He has carried his culture and language with pride and always likes to share stories of his young days and upbringing. I like listening to when he talks about working on the pearling luggers. He was an engineer, who was responsible for the upkeep of the motor and the manoeuvering of the lugger. I enjoy listening to his stories of how they travelled and navigated the sea at night using the stars as their compass. Torres Strait Islander peoples are united by their connection to the stars of the Tagai, as the star constellation of Tagai gives signs for garden preparation, hunting and gathering of food, travelling and seasonal changes. It connects the people to the land, sea and culture. Tagai plays a vital role in the survival and identity of the Torres Strait Islands. It is the stars of Tagai that have guided the travels of my grandfather out on the luggers.
My Athe talks of the many songs that were composed by the men on the luggers telling the stories of their work on the sea, their travels, the wind, the sea and the skies. Today we listen, we sing and we dance to the songs our grandfathers have composed, teaching us our history of how they worked and travelled the sea. I am proud of my Athe; he is a great role model and is a pinnacle of our family. Because of the strength of the struggle my Athe and our forefathers have endured, we now have access to education, voting, voice and recognition of our cultural identity.
Gidhal\23
My little town in the middle of nowhere By Charlea Smith, Year 9
In the middle of nowhere sits a town called Bedourie. It sits in Wankangnurru land. It’s a small bubble and barely seen as anything more than just a gas station on most maps. It’s small but it’s full of people I call family. I grew up there, knowing almost every person who lived there or close by in the neighbouring towns of Birdsville and Boulia. This small bubble of a town is the place I have the most beloved memories of and the only place that felt like home even after I left. My favourite memories of all would be the ones I shared with my Uncie and Aunt Jackie. My Uncie and I would watch old Elvis Presley performance tapes on the VHR and eat candies like the gummy Lifesavers. We’d sit and watch them all day. When I was three years old in a town like Bedourie, being three years old and having nothing to do called for creativity and outside thinking. So, I’d write stories and draw and hang out with my beloved Uncie, playing cards or watching movies. These memories are probably the earliest I have and they are some of my favorite. I’d spend all my time with my Uncie and cousin Lara. Lara and I were like sisters, living together up until we were seven. We’d spend time playing make believe and getting up to mischief. One of my most vivid memories with Lara was when we wanted to be hairdressers and cut each other’s hair. I remember Mom being so mad about it and telling my Nan and Uncie and Aunt Jackie. They all laughed heartily. I recall these memories like they were yesterday, and look back on them fondly.
24/Gidhal
These simple and silly memories are what makes me, me. If it weren’t for these moments I probably would’ve never grown up and realised cutting your own hair and jumping on boiling trailers and broken car roofs was silly. These moments are the moments that I miss as a child though because doing those things now makes you look crazy. My dog Oscar was always around when I needed him; he was such a soft soul and cared for all creatures, befriending even cats when he’d come across one. I’ve always been allergic to certain animals, especially dogs and cats, but my dog Oscar was one that I wasn’t allergic to. I started drawing when I was little, wishing that one day I could be an artist. I wanted to paint and draw and one day see my works displayed in a gallery. But now I know that you don’t have to have your works featured anywhere to be an artist. My Nan and my Aunts were all artists, from gallery show cases to just creating in your lounge room. My Aunts Joyce and Jean Crombie are the gallery artists. Their works made their way from canvas to fences and walls around our small bubble of a town. My Nan, Mona Smith, however, kept her art around her house. Dot paintings and photographs and an old half-made didgeridoo adorned her walls and halls, from the lounge to the bedrooms. It was everywhere. Growing up, art surrounded me fully and I don’t know what I’d do without it today.
Oodgeroo Noonuccal by Charli Jones, Year 8
Oodgeroo Noonuccal (Kathleen Jean Mary Ruska) was born on 3 November 1920, a descendant of the Noonuccal people of Minjerribah (North Stradbroke Island). Oodgeroo Noonuccal is one of my family’s distant relatives. She is a descendant from apical ancestor Elizabeth Ruska, who is the fifth daughter of Fernando Gonzales to another mother. Our apical ancestors are born of Fernando Gonzales and Junobin. She was an Australian Aboriginal political activist, artist and educator. She was also a campaigner for Aboriginal rights. During her lifetime she was, and continues to be, recognised as one of Australia’s leading literary figures, who used her pen to give voice to the Indigenous struggle for rights and justice. Kath Walker came back to Stradbroke Island and began to clean up their old mission site Moongalba/Myora, which closed in 1942. It was overgrown; she wanted to have an educational place for groups of children to come and listen to their stories. One day Kath Walker asked my Auntie Evie (Evelyn Enid Parkin) if she could help with telling the stories, but Auntie Evie wasn’t brave enough in those days. Kath Walker welcomed everyone to that special place. Auntie Evie’s mother (my Great, Great, Great Grandmother Bethel Delaney) was on a committee to help Oodgeroo build the place up for the visitors. They had great ideas and one was to have an amphitheatre. Auntie Evie said that she used to see her come into town to do the shopping and that they would stop and have a yarn and sometimes would go out to the old site for a visit. There were times when Oodgeroo Noonuccal lived with Judith Wright (who was a poet). She had been Oodgeroo Noonuccal’s mentor and supported Kath with her writing and poems. Below is one of the poems I particularly liked that Oodgeroo Noonuccal wrote, from the book The Dawn is at Hand.
Oodgeroo Noonuccal received numerous awards, such as the Mary Gilmore medal (1970), the Jessie Litchfield Award (1975), the International Acting Award and the Fellowship of Australian Writers Award. In 1970 she was appointed as a Member of the Order of the British Empire (Civil) for services to the community but returned it in protest over the bicentenary celebrations held in 1988. In recognition of a lifetime commitment to Indigenous peoples and her outstanding contributions to Australian literature, Oodgeroo Noonuccal was awarded three honorary doctorates by universities around Australia. Two honorary doctorate awards were conferred on her for her contribution to Australian literature: A Doctorate of Letters from Macquarie University and a Doctor of the University from Griffith University. In 1992, Oodgeroo Noonuccal received an honorary Doctorate from the Faculty of Education at the Queensland University of Technology for her contribution to literature and in recognition of her work in the field of education. In recognition of her profound contribution to Australian History, the QUT Aboriginal and Torres Strait Islander Support Unit was named the Oodgeroo Unit in 2006. Oodgeroo Noonuccal believed in equality and fairness. She worked hard so Indigenous people could have a voice. She was a strong independent woman and her drive for success was the thing that kept her standing. Oodgeroo Noonuccal showed resilience and persistence despite all the obstacles thrown at her. With time, she became patient and knew that good things come to the people who wait. Although she has sadly passed away from cancer, she will forever be one of the bravest Indigenous women known. She truly is an inspiring person and her story will be passed down from generation to generation.
Oodgeroo Noonuccal wrote several stories including Stradbroke Dreamtime. Stradbroke Dreamtime is a collection of 27 short stories. The stories are traditional Aboriginal tales from Stradbroke Island, the Tamborine Mountains and from the Old and New Dreamtime. Stradbroke Dreamtime was Awarded Winner of the 1994 Children’s Book Council Book of the Year Award.
All One Race Black tribe, yellow tribe, red, white or brown, From where the sun jumps up to where it goes down, Herrs and pukka-sahibs, demoiselles and squaws, All one family, so why make wars? They’re not interested in brumby runs, We don’t hanker after Midnight Suns; I’m for all humankind, not colour gibes; I’m international, and never mind tribes.
Black, white or brown race, yellow race or red, From the torrid equator to the ice-fields spread, Monsieurs and senors, lubras and fraus, All one family, so why family rows? We’re not interested in their igloos, They’re not mad about kangaroos; I’m international, never mind place; I’m for humanity, all one race. Gidhal\25
The writing process
Having launched the magazine in May 2019, the students needed to jumpstart the creative process and work out how they wanted to contribute to the magazine. On a bright, windy day in August the 20 students attended an incursion at school with Torres Strait Islander ABC radio journalist Rhianna Patrick. Rhianna first shared videos in M’s cafe from the ABC series Heywire – a collection of stories from young people living in rural and regional parts Australia – before asking each student how they wanted to contribute to Gidhal. As we moved onto the lawn outside the old chapel, each student was given paper, pens, markers and art supplies and found a spot in the sun to begin the writing process. For the next hour, they wrote, reflected, shared language, stories and sweet plums – a delicacy from the Torres Strait – and almost all of them came away from the morning with a plan.
26/Gidhal
Gidhal\27
Never forget where you came from by Elyne Tighe, Year 10
I am Elyne Tighe and I am from a small town in North West New South Wales called Moree. I am a member of the Kamilaroi tribe, and have been raised in a very large, close-knit family. Recently I remembered a conversation I had with my uncle, the week before I first left to begin boarding school in Brisbane. The memory of this conversation made me realise what I wanted to include in my section of the magazine – something which would help people to understand the importance of Indigenous heritage and how vital it is to preserve our culture. Just before I left for St Margaret’s, my uncle said to me: “Elyne, never forget where you come from, your family or who you are. Stick to your morals and the ethics of our family and you will be fine.” He told me to “keep home close, even though it is so far away”. Similar to the conversation I had with my uncle over three years ago, it is words spoken by the founder of Yalari, Waverly Stanley (pictured opposite with Elyne and Bella Griffiths), which remind me of what is important. In a recent video which was sent to all returning and new students with Yalari in 2020, Waverly said, “You are not any less Indigenous just because you go to a private school. Don’t ever forget where you come from, don’t ever forget your family.” Waverly reiterates this to us at each camp, foundation dinner, in each magazine and each video every year. Clearly, it is important. I am fortunate enough to be on a Yalari scholarship, and I knew I would be in safe hands when I first got to St Margaret’s. Both Uncle Wav, and my Uncle Rod are significant role models and people who I look up to. It is their words of wisdom which I wanted to write about in the magazine, in a hope to display the importance of listening to others and understanding the importance of your family, heritage and culture.
28/Gidhal
Welcome to Country
by Rhonda Adidi-Kanai, Year 8
by Kaurareg traditional owner and elder – Mrs Nazareth Adidi, grandmother of Rhonda Adidi-Kanai, Year 8 (In Kaurareg traditional language)
Kapu Gaiga (Good day)
Seu Ngapa (welcome)
Mura Buai (everyone)
(Kaurareg) (English)
Good Day: Kapu Goiga Fish: Wapi
Language: Kala Lagaw Ya
Welcome: Sew Ngapa House: Mudth
Bird: Urui Land: apa
Crocodile: Koedal Sea: Malu
Fire: Mui Sun: Goiga
Gidhal\29
Q and A with artist Edwin Turner with granddaughther Chantay Turner, Year 8
Edwin Turner Age: 48 Occupation: Artist for Key Creative
Where do you get your materials from?
I grew up all my life living on Thursday Island with my family. I met Chantay’s grandmother when she was living on TI. After we got married, we moved to Hammond Island in 2004, Chantay’s great-grandfather’s community.
The plywood and a wood burner I order from Cairns or down south, because they do not supply them locally.
Life
Family
My mother’s blood ties originate from Cape York, Queensland, Wuthathi tribal clan and Ambonese Indonesian. My father is a full-blooded European, who grew up on Saibai Island. He was nicknamed “Saibai” and was adopted by the Torres Strait, Saibai Island Clan, Suy Baydum. We had a live-in nanny from Saibai Island, Ama (meaning mother, in Torres Strait) Jaubie, who cared for my father. She travelled with my grandparents, Bubba (meaning Big Father) Turner, a teacher, and Nana Turner, a nurse, throughout the Torres Strait Islands and Brisbane during WWII. Ama Jaubie remained with my family for the rest of her life. Hobbies
I enjoy boating and fishing, creating a beautiful yard in our home and planting garden food. My favourite hobby is spending time with family, looking after my goldfish and tropical fish aquariums and also making aviaries for my birds such as budgies, lorikeets and poultry. It is important to teach our children to be responsible, independent and sustainable, to work hard, care for people/animals and grow their food garden. How long have you been an artist for?
I have been practising art since I was in Year 3 at Thursday Island Primary School, in the late 1970s. A local Anglican Bishop, Fr Ted Mosby, recognised and praised me for my artwork at a Religious Education class and asked to showcase it to his parishioners. This inspired me to continue to create artwork throughout school. As I grew older, I saw it as an opportunity to make money when people asked to buy my artwork. Can you describe 21st keys?
I cut out plywood to create the keys, then paint, stain and varnish them and put paper on the back for people to write well wishes. At Key Creative, designing and producing personalised keys has become a very important coming of age milestone, almost like an initiation. The 21st birthday occasion has become a significant ritual practice, to acknowledge the recipient’s traditional and cultural identity. I also create wall hanging for families who are celebrating coming of age milestones such as 30th through to 90th birthdays.
The Dremel equipment, paint, varnish and stains are bought locally on Thursday Island. It is important to buy local, support local businesses and keep money in the region.
What motivates you to make these artworks?
In 2001, for their coming of age, I created my very first 21st keys for my twin niece and nephew as a present. Although it was my hobby, I started getting recognition and received a lot of personalised orders from families, near and far, who were willing to pay for my artwork. When I received good feedback from people, especially my customers, more orders kept growing. In 2012 at a Torres Strait Cultural Festival, I made a lot of money, then in 2013, I decided to quit my job and establish myself, as a full-time, practising solo artist. My artwork is unique and can be Torres Strait Island themed, which is hard to get for significant Indigenous celebrations. Who do you make them for?
I make personalised carvings for anyone who wants to commission them from me. My customers range from families and relatives, sports clubs, community groups, including businesses such as local councils and government organisations. Most of my orders come from local families who want to revitalise traditional customary practices and identity, by including their tribal totems in their designed carvings. My commissioned orders range from keys, wall hangings, public art, trophies and shields. How do people normally react when they receive their keys?
My customers instantly fall in love with their personalised carved keys. They often say how it brings tears of joy, when they receive it. I always receive good feedback and haven’t missed an order that I have committed to. My Facebook page has a lot of followers and I receive recommendations from customers. This means my business has a good reputation that people can trust.
Can you explain why it is important for Torres Strait Islanders to continue to make art? When you live in Torres Strait Islands remote communities, there are limited jobs available for our people. We must become entrepreneurs and create our own employment opportunities. Australians and overseas visitors hardly know about the Torres Strait Islanders as Australia’s first nations’ people. There is a shortage of Torres Strait Islander art and merchandise available for retail throughout Australia, except in art galleries and museums. My business aims to celebrate and promote Torres Strait Islander arts excellence to the world. Chantay’s sister and Edwin’s granddaughter Aaliyah Turner is in Year 7 at St Margaret’s
30/Gidhal
A childhood book in the Munathirri language Pages from a book told and illustrated by Charlea Smith’s Aunts and Uncle – Anpanuwa Joyce Crombie, Aulpunda Jean Barr Crombie and Jum Crombie.
Gidhal\31
Acknowledgements
Gidhal would not have been possible without an enormous amount of goodwill offered to the students and the school during this process. This goodwill has been shown in artists allowing their work to be reprinted and gifting artworks to the school. Elders have agreed to be interviewed by students, and family members have found stories and songs to help their children represent their community. We would like to thank the following organisations for working with us on this project: Australian Catholic University Brisbane Institute of Art Institute of Modern Art
kuril dhagun – Indigenous Education Unit within the State Library of Queensland. Queensland Rugby League
State Library of Queensland
St Margaret’s Marketing and Communications Team
We would also like to thank the following individuals for their time and sharing their work: Nancy Brown Jazz de Busch Donald Calliope Dr Derek Chong Jean-Barr Crombie and Joyce Crombie Dr Ruth Hegarty Taneale Lawton Rhianna Patrick Mandy Quadrio Kerrie Trimble and Neil Ellard Carol Vale Lesley Williams The families of all our students involved in the project
St Margaret’s Anglican Girls School 11 Petrie Street Ascot QLD 4007 Australia Telephone: +61 7 3862 0777 Facsimile: +61 7 3862 0701 mail@stmargarets.qld.edu.au www.stmargarets.qld.edu.au
St Margaret’s School Council Ltd ABN: 69069684019 CRICOS Code: 00511K A School of the Society of the Sacred Advent
