|
Barbara Napangarti Reid
Biography:
Barbara Napangarti
Reid was born around 1962 at Paaya near Tjukurla in Western Australia,
in the Tjukurla region of the Gibson Desert, Western Australia.
View
Barbara Reid
Curriculum
Vitae
page 256
Encyclopedia 2004 Aboriginal Artists dictionary of biographies. Barbara's distinctive works depict her traditional
country in the Gibson Desert. Barbara Napangarti Reid began painting in 1987 with the Centre for Aboriginal Artists in
Alice Springs. Barbara's distinctive works depict her traditional
country in the Gibson Desert. Many of her paintings show the
puli rock
formations and sand hills of this country and tell women's
ceremonial stories related to the formation of the natural environment
around Tjukurla. This area is dominated by expansive sand hills
and rock holes containing water where bush foods are found. Also vital to
Barbara's work is the telling of minyma stories (women's sacred
stories) which are narratives that revolve around the role of the woman
as healers and providers in Ngaanyatjarra society.
Barbara Reid
and her
family currently live in Alice Springs.
Barbara Napangarti Reid
depicts the stories
associated with Women's ceremonies.
SELECTED Exhibitions:
2000 Japinka
Gallery Perth;
2000 Vivian Anderson Gallery Melbourne;
2000
Museum and Art Gallery of the Northern Territory
Darwin;
2000 Gallery Gondwana,
Alice Springs; 2001 Alliance Francaise de Canberra; Sand Spinifex & Salt
Leading Central Desert Painters Japingka Gallery;
17th National Aboriginal & Torres Strait Islander Art Award
exhibition Darwin,
North Territory;
1998
Museum and Art Gallery of the Northern Territory Darwin;
touring exhibitions in America and Indonesia Australian
Regional Galleries
Awards:
17th
National
Aboriginal and Torres Strait Islander Award
- 17th National Aboriginal & Torres Strait Islander Art Award, Darwin
selected
SOURCE:
Australian Encyclopedia 2004 Aboriginal Artists dictionary of
biographies
by Janusz B. Kreczmanski
and Margo Birnberg.
Aboriginal WOMEN'S DREAMING
CEREMONY
Aboriginal paintings are based on myths of the Dreamtime. In modern dot
representation, the sacred aspect of the painting is not always
revealed, but the meaning remains, transmitted through symbols which are
easily understood. Each person has particular Dreaming to which they
belong and they have special ceremonial dances and songs that combine
together to form a unique religion that makes up the lives of the
Aboriginal people. All things related to the land and thus the land is
of great importance to them. The land is the keeper of the Dreaming and
must be kept safe for all time so that the Dreaming stories, which are
told in the paintings, can be preserved. While many ceremonies are open
or public, many are secret to varying degrees. The categories of people
who can be present are restricted; groups such as women, girls and
uninitiated men and strangers would all have limitations placed on them
in relation to men’s ceremonies; men, boys and uninitiated girls would
have similar restrictions placed on them in relation to women's
ceremonies. This painting tells of women's business, an initiation
ceremony for women. The women may be past initiates, or young women
awaiting instruction from older women. Initiates are taught their roles
as nurturers of the land and keepers of the law by which life's rules
and regulations are set. This particular ceremonial site is near Utopia.
Ceremonies always involve song, dance and body decoration, The
ownership, management and performance is dependent upon knowledge and
status. Body painting carries deep spiritual significance for the
Aboriginal people. They recognize the creative nature of this activity,
which uses the human body itself as a living canvas for artistic
expression. The use of particular designs and motifs denotes social
position and the relationship of the individuals to their family group
and to particular ancestors, totemic animals and tracts of land. In many
situations individuals are completely transformed so they 'become' the
spirit ancestor they are portraying in the dance. Patterns must conform
to the ceremony being performed, and the women are not at liberty to
adorn themselves with designs of free will. Elaborate ground
constructions (sand paintings) are also made. Usually during ceremonies,
their body painting depicts similar linear designs as those illustrated
in the ground paintings. The women are sitting at a ceremonial site,
painting their bodies with markings in preparation for the ceremony.
Ochres and Spinifex ashes are mixed with Kangaroo or Emu fat to make the
body paint. Body painting ranges from simply smearing clay across the
face, to intrinsic full body patterning. The half circular, shell like
shapes depict the women, fully prepared and painted performing the
ceremony. |
