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The Berndt Museum of Anthropology is an anthropological museum in Perth, Western Australia, founded in 1976 by Ronald Berndt and Catherine Berndt. It is currently, as of 2024 [update] , located with the Lawrence Wilson Art Gallery on the western side of the University of Western Australia's (UWA's) Crawley campus.
Housing 12,000 objects and 35,000 photographs, [1] the museum contains one of the finest collections of Indigenous Australian art and cultural artifacts in the world, according to the Collections Australia Network. [2] The collection consists of contemporary and historical Aboriginal Australian material culture from regions such as Arnhem Land, the Kimberley, Pilbara, the South West and the Western Desert. The museum also houses substantial Asian and Papua New Guinean collections.
The Berndt Museum at the University of Western Australia holds one of Australia's finest and most important collections of Aboriginal cultural material and knowledge, manifesting in art, objects, archives, film, sound and photographs.[ citation needed ] The significance of the collection is renowned nationally and internationally, but its strength lies most in the inherent value to Aboriginal people and communities of origin and creation.[ citation needed ] The diversity of regions represented in the Berndt Museum holdings extends beyond Australia to Melanesia and southeast Asia; reaching as far as China, India, Japan, and Egypt, firmly locating UWA and the state of Western Australia within the Asia-Pacific region.
The Museum was founded by Ronald and Catherine Berndt, who came to Perth in 1956 to develop teaching and research in anthropology at UWA, bringing with them a large collection of material acquired during their field work in various areas of Australia and Papua New Guinea. This original collection was formally gifted to the university which, in 1976, [3] established the Anthropology Research Museum to house it and several other collections transferred from UWA's Anthropology department. The museum's official launch and exhibits opened on 22 February 1979, showcasing collections from northeast and western Arnhem Land, the Kimberley, southwest South Australia, central Western Australia and the Western Desert.
In 1992, two years after Ronald Berndt's death, the Anthropology Research Museum was renamed the Berndt Museum of Anthropology in honour of Ronald and Catherine's contribution to the university, the field of anthropology and the Museum. Catherine's death in 1994 resulted in another generous bequest to UWA and the Museum. It contained the remainder of their private collections, including a significant Asian collection, the Ronald and Catherine Berndt Field Notebooks (under embargo until 2024) and the RM and CH Berndt Personal Archive of manuscripts, personal and professional papers.
The Berndt Museum holds a range of collections of national significance. This includes more than 11,500 items, 35,000 photographs, film and sound and multiple archives, and is considered to be one of the most significant collections of Aboriginal and Torres Strait Islander art and cultural material globally.[ citation needed ] The collections include Asian and Melanesian material, as well as representations from across the world that broaden its international appeal.
The Museum's history spans some 60 years of collecting with well over 100 years of historical and contemporary material that has continued to be supported, and with continued additions being made to existing donations by researchers locally, nationally and internationally. The Museum collections provide a means of encouraging the exchange of knowledge and igniting much-needed dialogue regarding culture, place, politics, law, identity and heritage.
The Yirrkala Drawings were first collected and documented by renowned anthropologists, Catherine and Ronald Berndt. Catherine and Ronald worked with the Yolngu Community in 1946 and 1947 and, when it was believed that bark paintings with original designs would not survive local conditions and travel from a remote wetland setting to an urban one, rolls of brown paper and packets of crayons were called on to execute the designs in another medium. Yolngu from several clan groups were involved in creating the coloured crayon on brown paper drawings, many of which were inspired by land-based and interrelated designs evident on traditional bark paintings. The drawings produced by significant artists such as Mawalan and Wandjuk Marika, Munggurrawuy Yunupingu, Narritjin Maymuru and Wonggu Mununggurr are among the 365 works currently held in the Berndt Museum's Collection. In 2009, the Yirrkala Drawings Collection was successfully nominated for inclusion on UNESCO's Memory of the World Australian Register.
The Berndt Photographic Material Collection (BPMC) consists of negatives in various formats and digital images that are diverse in provenance and subject matter. Although a significant number of researchers and academics make use of the photographic material, this collection is of particular importance to Aboriginal community members as a visual point of reference in making connections to family, place and culture.
The Berndt Museum of Anthropology will act as point of contact for public requests for access to the photographic material compiled by the 'Returning Photos: Australian Aboriginal Photographs in European Collections' project. [4] The project, funded by the Australian Research Council under its Discovery scheme (DP110100278), collated and presents information about historical photographs of Australian Aboriginal people held in four European Museums: the University of Oxford's Pitt Rivers Museum, the Cambridge University Museum of Archaeology and Anthropology, the Musee du Quai Branly in Paris, and the Nationaal Museum van Wereldculturen (National Museum of World Cultures) in Leiden.
The Berndt Museum Archive contains a number of discrete collections documenting Australian Aboriginal knowledge, law and culture, socio-economic and political life, histories and interactions.
The Ronald M and Catherine H Berndt Field Notebooks and Personal Archive are currently subject to a 30-year embargo that will lift in 2024.
The Berndt Museum of Anthropology holds two major exhibitions annually, as well as associated public events. The changing program of exhibitions take place throughout the academic year and are held in the Janet Holmes à Court Gallery within the gallery.
The Djang'kawu, also spelt Djanggawul or Djan'kawu, are creation ancestors in the mythology of the Yolngu people of Arnhem Land in the Northern Territory of Australia. It is one of the most important stories in Aboriginal Australian mythology, and concerns the moiety known as Dhuwa.
Arnhem Land is a historical region of the Northern Territory of Australia. It is located in the north-eastern corner of the territory and is around 500 km (310 mi) from the territorial capital, Darwin. In 1623, Dutch East India Company captain Willem Joosten van Colster sailed into the Gulf of Carpentaria and Cape Arnhem is named after his ship, the Arnhem, which itself was named after the city of Arnhem in the Netherlands.
The Yolngu or Yolŋu are an aggregation of Aboriginal Australian people inhabiting north-eastern Arnhem Land in the Northern Territory of Australia. Yolngu means "person" in the Yolŋu languages. The terms Murngin, Wulamba, Yalnumata, Murrgin and Yulangor were formerly used by some anthropologists for the Yolngu.
Makassar people from the region of Sulawesi in Indonesia began visiting the coast of Northern Australia sometime around the middle of the 18th century, first in the Kimberley region, and some decades later in Arnhem Land. They were men who collected and processed trepang, a marine invertebrate prized for its culinary value generally and for its supposed medicinal properties in Chinese markets. The term Makassan is generally used to apply to all the trepangers who came to Australia.
Bark painting is an Australian Aboriginal art form, involving painting on the interior of a strip of tree bark. This is a continuing form of artistic expression in Arnhem Land and other regions in the Top End of Australia, including parts of the Kimberley region of Western Australia. Traditionally, bark paintings were produced for instructional and ceremonial purposes and were transient objects. Today, they are keenly sought after by collectors and public arts institutions.
Marribank, earlier known as Carrolup, is a locality in the Shire of Kojonup, Western Australia, approximately 30 kilometres (19 mi) north-west of Katanning. It was the site of one of two large native settlements for Indigenous Australians established by the office of the Protector of Aborigines of the Western Australian state government. The settlement was one place that the Stolen Generations were taken after being separated from their families. Artworks produced by children at Carrolup are some of the only extant objects produced by members of the Stolen Generations across Australia.
Catherine Helen Berndt, néeWebb was a New Zealand-born Australian anthropologist known for her research in Australia and Papua New Guinea conducted jointly with her husband, Ronald Berndt.
Barnumbirr, also known as Banumbirr or Morning Star, is a creator-spirit in the Yolngu culture of Arnhem Land in the Northern Territory of Australia, who is identified as the planet Venus. In Yolngu Dreaming mythology, she is believed to have guided the first humans, the Djanggawul sisters, to Australia. After the Djanggawul sisters arrived safely near Yirrkala in North East Arnhem Land, Barnumbirr flew across the land from east to west, creating a songline which named and created the animals, plants, and geographical features.
Baijini are a mythical people mentioned in the Djanggawul song cycle of the Yolngu people, an Aboriginal Australian people of Arnhem Land in the Northern Territory. Many speculations have arisen that try to link these mythical culture-bearers with historical immigrants from either China directly or Southern Asia.
Narritjin Maymuru was a Yolngu people artist and activist noted for Bark painting. He began painting in the 1940s after time as a cook. After decades of work in 1979 he, and his son, became visiting artists at the Australian National University. His daughter Galuma Maymuru has become recognised as a significant Australian artist.
Wurrwurrwuy stone arrangements is a heritage-listed indigenous site at Yirrkala, Northern Territory, Australia. It is also known as Wurrwurrwuy. It was added to the Northern Territory Heritage Register on 15 August 2007 and to the Australian National Heritage List on 9 August 2013.
Galuma Maymuru is an Australian painter, printmaker and sculptor from Yirrkala in Arnhem Land in the Northern Territory.
Wonggu Mununggurr (c.1880–1959) was an Aboriginal Australian artist and leader of the Djapu clan of the Yolngu people of northeast Arnhem Land in the Northern Territory of Australia.
Dhuwarrwarr Marika, also known as Banuminy, a female contemporary Aboriginal artist. She is a Yolngu artist and community leader from East Arnhem Land in the Northern Territory of Australia. She belongs to the Dhuwa moiety of the Rirratjingu clan in the homeland of Yalangbara, daughter of Mawalan Marika. Marika is an active bark painter, carver, mat maker, and printmaker.
Mithinarri Gurruwiwi (c.1929–1976) was an Aboriginal Australian painter of the Gälpu clan of the Yolngu people of north-eastern Arnhem Land in the Northern Territory of Australia. His first name is sometimes spelt Midinari, Mitinari, or Mithinari.
Mungurrawuy Yunupingu (c.1905–1979) was a prominent Aboriginal Australian artist and leader of the Gumatj clan of the Yolngu people of northeastern Arnhem Land in the Northern Territory of Australia. He was known for his bark paintings.
Mawalan Marika (c.1908–1967), often referred to as Mawalan 1 Marika to distinguish from Mawalan 2 Marika, was an Aboriginal Australian artist and the leader of the Rirratjingu clan of the Yolngu people of north-east Arnhem Land, in the Northern Territory of Australia. He is known for his bark paintings, carvings and political activism.
Lucy Malirrimurruwuy Armstrong Wanapuyngu is an Aboriginal Australian master fibre artist. She is an elder of the Gapuwiyak community, and is heavily involved in the transmission of knowledge dealing with fibre works. She has worked with anthropologist Louise Hamby, since 1995, and many of her works have been spotlighted at different art festivals, collections, galleries, and museums.
Wukun Wanambi was an Australian Yolngu painter, filmmaker and curator of the Marrakulu clan of northeastern Arnhem Land, Northern Territory.
Milirrpum Marika, also known as Jacky and also referred to simply as Milirrpum, was a Yolngu artist and community leader from East Arnhem Land, Northern Territory of Australia. He was best known for his involvement in the landmark court case Milirrpum v Nabalco Pty Ltd (1971), aka the Gove land rights case, which was the first significant legal case for Indigenous land right and native title in Australia and led to the federal Aboriginal Land Rights Act 1976.