‘Number one man’ wins national Indigenous art prize

Dickie Minyintiri is one of the most senior Anangu Pitjantjatjara alive today, and is therefore one of the most significant and important artists from the remote Anangu Pitjantjatjara Yankunytjatjara Lands in Western Australia.

Dickie is the oldest man in the community and the Elders say “He’s our number one man. Top one!”

Despite only taking up painting six years ago, Dickie has been awarded the 2011 National Aboriginal & Torres Straight Islander Art Award, Australia’s most prestigious Indigenous art prize. His winning entry, Kanyalakutjina (Euro tracks), reflects his rich personal history.

Dickie Minyintiri is based at Ernabella Arts, Australia’s oldest and most renowned Aboriginal art centre. Established in 1948, the centre has nurtured visual arts practice for over 60 years. Hilary Furlong was Art Coordinator at Ernabella Arts when Dickie began painting.

“Dickie started painting in 2005. His wife was still alive at the time and she would sit outside the centre in their little green golf buggy along with a tribe of black dogs to keep her company while Dickie painted each day for a few hours,” Hilary said.

“Ernabella Arts is a place where both senior and young women and men practice their art to sustain, support and promote their cultural heritage. Dickie would paint with relatives who made him more comfortable in a new environment.”

Current Manager of Ernabella Arts, Julian Green, said when Dickie’s family first came to Ernabella, before the mission days they were the first people there.

“Dickie can remember the first ‘whitefella’ coming, the first building and the entire establishment of the Ernabella Mission,” he said.

“That he remembers his early life as a child travelling with his parents across the country that is now Anangu Pitjantjatjara Lands makes Dickie one of the few people alive that can recall this period in Aboriginal history. His work portrays historical events through Indigenous eyes.

“His art has a strong, raw edge that tells the story of his life in pre-contact times, his position in ceremony, and how it is used to protect the ancestral beings of his country – namely the rock wallaby, kangaroo, euro, stone curlew and emu.

“Indigenous art has not only boosted awareness of Indigenous culture, both in Australia and overseas, it has also has seen strong growth in financial terms,” he said.

“However, few people realise that much of the work we now celebrate originates from art centres operating in remote Indigenous communities, such as Ernabella Arts.

“Ernabella is a non-profit organisation, owned by the artists themselves. Return on sales is shared between the artist members and the costs of running their business. The income is essential to the welfare of the artists’ families and maintaining and strengthening the social wellbeing of the community.

“Indigenous art centres are building capacity, maintaining culture and generating income and employment opportunities in remote Indigenous communities—while also producing some of Australia’s most exciting visual art,” Julian said.

The Australian Government recognises the social, cultural and economic benefits of investing in art and its important role in building a strong Indigenous art sector and Closing the Gap objectives. In 2011-12 around $10 million in Government funding will help support the operations of art centres and related industry groups through Indigenous Visual Arts Industry Support Program, including funding of $100,000 to Ernabella Arts.

The diversity and style of work submitted for the Telstra National Aboriginal & Torres Straight Islander Art Award each year reflect the changing face of contemporary Aboriginal art practise. Artworks from this year’s Awards are featured on an interactive website.

Indigenous Visual Arts Industry Support Program (IVAIS)

(Formerly National Arts and Crafts Industry Support Program.)

The IVAIS program supports the operations of Indigenous art centres, and organisations involved in the production, promotion and marketing of Indigenous visual art.  It provides opportunities for Indigenous artists to maintain, develop and extend their professional art practice, and provides opportunities for art centre staff, artists and board members to develop professional skills and experience.

IVAIS is part of a coordinated Australian Government approach to develop the Indigenous visual arts sector as outlined in the Indigenous Art Centres Plan.

Applications for the 2012-13 Indigenous culture, languages, visual arts and broadcasting funding round are open from 29 October 2011 until 3 February 2012.