Fanny balbuk

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Communicating across generations Words by Laetitia Wilson The Indigenous Warrior stands proud, larger than life-size at 2. It is a bronze sculpture located in East Perth, by local artist Robert Hitchcock, who works tucked away in a warehouse studio in a semi-industrial area in Morley.

Now in his seventies he has tirelessly worked away for weeks, years and decades on the labour-intensive process of bronze sculpting. His studio is bursting in works-in-progress, casts, tools, finished works and a wall of books, mostly on sculpture.

He is still going strong and still treats his art practice very much like any other nine-to-five occupation. He is not overly fussed by the trends of the art world, which gives his art an enduring quality. Neither is he interested in socialising within the art scene, preferring to remain as somewhat of an outsider.

Of both Indigenous and Irish heritage, Hitchcock grew up at a time when there was little encouragement to identify with his Indigenous identity; this was something he would discover later in life.

When he went to art school in the s he started out in painting but due to trouble with his eyes and because he was a carpenter by trade, he found that sculpture was more his natural element. He was initially drawn towards realism and figurative techniques and although he could skilfully manage any style, he has continued carrying this tradition forward throughout his career, with the occasional more Modernist abstract sculpture.

The portraiture busts are clustered along one wall of the studio and dozens of eyes stare out. Hitchcock is able to work from limited information, using just a photograph, or even a sketch to create a three dimensional likeness.

A verisimilitude also carries through to the animals that he sculpts. As you enter the studio there is an especially striking eagle bearing down as though diving for prey. The detail in the feathers and commanding posture of the bird are striking. In all of his works there is close attention to the line of the bodies, giving them a sense of movement and tension.

There is an internal dynamism, like a vital energy issuing forth from the otherwise static matter, making them both lithe and realistic. This tempering of accuracy with energy can be seen in his public works around town.

Yagan stands as a warrior figure, representing resistance to occupation. He stands proudly on the island, naked with a spear placed across his shoulders. Hitchcock fastidiously attended to its repair. While Yagan holds a special place for Hitchcock, he created the work so long ago that it has become a historical part of his life.

Wrestling with his Irish heritage he feels as though within him there is both identification with, and a distancing from, his Indigenous roots.

Identification has come about through strong spiritual and inexplicably surreal experiences with country. He also had a defining experience of connection inwhen he started chatting with some local Aboriginal people at Whim Creek and felt they were somehow on the same plane.

In terms of his art, then, Hitchcock speaks about both feeling like a fraud amongst Aboriginal artists, because of the European nature of his art, but also feeling a deep sense of connection when not talking about art, because of a shared heritage and undeniable connection to country.

Hitchcock has proposed a sculpture of Wadjuk Noongar Fanny Balbuk Yooreel as a significant person to honour in bronze. So far there has not been any interest. Such a sculpture is overdue; Fanny was one of the key figures who carried the Noongar traditions forward and documentation of her knowledge contributed considerably to the Native Title Claim of She defiantly walked the path her family had for generations, well into the development of what is now the Perth CBD, famously knocking down fences and walking through houses built without consultation.

As the NAIDOC theme celebrates languages this year, it is good to be reminded of not only the preservation of Indigenous languages but also of the vitality of communicating across generations the importance of events of the past and such significant figures as Yagan and Yooreel.

Hitchcock is aware of this and is well placed to make memorials that will stand the test of time. Whether it honours the living or memorialises the dead, a work in bronze is an unexpected and enduring blessing, when so many aspects of traditional cultures are under threat.

Images top to bottom: Sue-Lyn Moyle Robert Hitchcock, works in studio, Sue-Lyn Moyle Robert Hitchcock, work in progress, Sue-Lyn Moyle Robert Hitchcock in studio, Yagan Fanny Balbuk Bilin Bilin Kamalyarrpa Japanangka (‘Bullfrog Page 3.

After you have examined all the information on a case study complete a summary table like this. The Historic Heart of Perth is an area spanning from Barrack Street in the west to Hill Street in the east.

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This east end of Perth is a critical city neighbourhood but has lost its vitality in past decades. Cause he’s kind, creative, funny, vibrantly curious about life, weird as fuck in all the best ways, a big dork, and he’s one of my best friends.

Her research and authorship have resulted in publications such as Fanny Balbuk Yooreel: realising a Perth resistance fighter and Rivers of Emotion which she co-edited. Gina specialises in interpretive planning and content development for a diverse range of formats including audiovisual, audio, websites, curated spaces, exhibitions and initiativeblog.com: Cultural Facilitator and Writer.

FANNY BALBUK () in south-west Western Australia BILIN BILIN (c) in south-east Queensland KAMALYARRPA JAPANANGKA (or ‘Bullfrog’) and . Fanny Balbuk Yooreel honoured in heritage walk 27 April On Sunday, 23 April, representatives from the Department of Aboriginal Affairs (DAA) attended a guided walk to recognise and honour the life and contribution of Noongar woman Fanny Bulbuk Yorreel to Western Australia’s rich heritag.