Deadly Yarning from South Australian Aboriginal Communities

16/11/2025

16/11/2025

16/11/2025

In her study of Country as form and memory, .artist deploys both ochre and synthetic polymer. The combination of traditional and introduced materials in Aboriginal art dates at the very least to the brilliant Wurundjeri artist and leader William Barak, who in works such as Ceremony with Rainbow Serpent, c.1880 (National Gallery of Victoria), used pencil, gouache, earth pigments and charcoal on paper, demonstrating not only that creative expression could withstand the ‘originary violence’ of colonialism, but could make meaning out of and from its brutal regimes (social, political and aesthetic).

In this sense, Mills’s field of smoky grey that seems to shroud other forms – which we might imagine represent Country’s elements – is not what we need to see past in order to get to the other side, but is the very thing we need to see to understand our ecological relationships to Country, spirits and ancestors across time.

See Untitled: Smoke on Country in Too Deadly: Ten Years of Tarnanthi until 18 Jan 2026.

✏️ Words by Tristen Harwood as part of the Tarnanthi 2025 Catalogue.
📸 Karen Mills, Balanggarra people, Western Australia, born Katherine, Northern Territory 1960, "Untitled: Smoke on Country", from the series "Some day we will walk together (on Country)", 2021, Palmerston, Northern Territory, pigment and synthetic polymer paint on linen, 137.0 x 198.0 cm (irreg.); Acquisition through Tarnanthi: Festival of Contemporary Aboriginal & Torres Strait Islander Art supported by BHP 2022, Art Gallery of South Australia, Adelaide, © the Artist, courtesy Alcaston Gallery, Melbourne

16/11/2025

16/11/2025

Last week on beautiful Larrakia Country, we celebrated the success of the 20 graduates of the 2025 ‘Leading Our Ways’ IAHA NT Workforce Development Leadership Program.

The ‘Leading Our Ways Program’ is a culturally grounded program created by our people, for our people which empowers Aboriginal and Torres Strait Islander professionals to lead with strength, culture, and purpose.

A big congratulations to each of our deadly graduates. It’s been a privilege to share this journey with you, and we can’t wait to see the amazing things you’ll all continue to achieve in the spaces you live and work.

Thank you to the Northern Territory PHN for their financial support of the program over the past 2 years, to Aunty Miliwanga and Uncle Stephen for their love, guidance and support and to Donna, Kylie, Michael (Magoo) and the team from Murrimatters for their facilitation and leadership.

We are currently seeking investment to make the program sustainable into the future so we can continue to support the next generation of Territory leaders. If you’re interested in supporting the program, please reach out to the IAHA NT Workforce Development team for a yarn - [email protected]



Central Australian Aboriginal Congress Miwatj Health Aboriginal Corporation Danila Dilba Health Service Red Lily Health Aboriginal Medical Services Alliance Northern Territory NACCHO Aboriginal Health Australia Senator Malarndirri McCarthy - Northern Territory Selena Uibo: Member for Arnhem TeamHEALTH Northern Institute Heart Foundation

16/11/2025

Congratulations to our Year 10 students, Shia and Zuwena, who have been accepted into the National Gallery of Australia Scholarship Program.

This is an incredible achievement - only 16 students nationwide are selected each year, and both SA representatives for 2026 are Immanuel students!

Over the next 12 months, they’ll join a creative network of artists and peers, culminating in a week-long residency at the National Gallery in Canberra.

To earn their spot, Shia and Zuwena went through a rigorous process, submitting original artworks, artist statements, and completing a detailed analysis of a National Gallery piece.

Their talent and dedication truly shine; we are so proud of them and wish them all the best.

National Gallery of Australia, Canberra

15/11/2025

Three stories of Country. One message of hope.

Beneath the constellation of Bangarra’s creative and cultural legacy, experience a program of three powerful works:
Keeping Grounded by Glory Tuohy-Daniell, Brown Boys by Daniel Mateo and Cass Mortimer Eipper, and Sheoak by Bangarra's Artistic Director and Co-CEO Frances Rings with music by David Page. Together, these three works honour Bangarra’s past while looking to the future.

Sheoak, choreographed by Mirning woman Frances Rings for Bangarra Dance Theatre with music by Munaldjali and Nunukul man and renowned composer David Page, is a deeply affecting work exploring themes of resilience, connection to country, and cultural identity.

The work, which premiered in 2015 as part of the double bill Lore under Munaldjali and Nunukul man Stephen Page’s artistic direction, draws inspiration from the sheoak tree—a powerful symbol in Indigenous Australian culture known for its strength, adaptability, and deep meaning.

https://www.sydneyoperahouse.com/bangarra-dance-theatre/sheltering?promoCode=177576&utm_source=ActiveCampaign&utm_medium=email&utm_content=What%20s%20On%3A%20Kids%20Shows%20in%202026%2C%20Bangarra%20s%20Sheltering%20and%20The%20Pogues&utm_campaign=Whats%20On_251112_newsletter

15/11/2025

We have said it once and we will say it again ...seeing Mob's art being exploited by people who have NO cultural understanding or respect is another form of

The authenticity of an Indigenous artwork is important not only for ethical and legal reasons but because it has significant value in the art market.

The problem facing Aboriginal and Torres Strait Islander artists and communities is how to protect authentic artwork from rip offs made by non-Indigenous people, this is often called “fake” or inauthentic art.

A Certificate of Authenticity is a record of an artwork and its creator to ensure that it is an authentic artwork made by an Aboriginal or Torres Strait Islander person. It is the ‘cultural provenance of a work’. You should get one when you purchase any Aboriginal Artwork.

Because if you are truly Genuine about supporting Aboriginal artists, you would be following the below CULTURAL PROTOCOLS already !

💠The Culturally appropriate way is through our SA Aboriginal Corporations depending on where your based, so the community members can be involved and the money will benefit everyone (not just an individuals, unless they donate back to their Corporation and support their Community)
https://www.nativetitlesa.org/pbcs-sa/

💠 Engage with the LOCAL Artists through Aboriginal Corporations - where you require the piece. - Kaurna, Narungga, Kokatha, Ngarrindjeri, Wirrangu, Nauo Country https://www.nativetitlesa.org/pbcs-sa/

We also know there's obviously certain Places and Corporations our beautiful artwork or cultural stamping absolutely shouldn't be associated with like Alcohol and To***co. Other places are in BIG Corporations who do nothing for the advancement of our people, they just want to tick a box and have art in their Receptions areas or on their buildings !

https://www.artslaw.com.au/fake-art-harms-culture/

15/11/2025

Program dates for 2026!

Leadership Programs for First Nations People and Cultural Intelligence Programs for our Allies.

Culturally Intelligent Allyship Programs for Non-First Nations People

We listened to your requests so...
✅ face-to-face programs
✅ longer face-to-face for Changemakers
✅ more small group opportunities
The first programs for the year only have a few spots left, so head over to our website

https://www.firstpeoplesleading.com.au/

15/11/2025

Congratulations to Lucy Janiak, Lahni Von Senden & Tiffany Miller (absent) on being selected in the WFL Women’s 2025 of the Year 💜🤍