The tale of Aboriginal plunder is a never-ending ballad that sings in the winds of this great country, a land that Elea (Albert) Namatjira painted so lovingly in watercolour. Namatjira’s world-renowned artistic status may have provided him with a thin shield against racism but it was easily shattered, even his greatness, wealth and innocence could not protect him from incarceration.
The legend begins when Artist , Rex Battarbee took a painting trip into the Outback, after returning from the devastation of War in the 1930’s. He met Namatjira and it was through their collaboration that the 30-year-old Aranda man learnt to paint and exhibit. They went onto become lifetime friends, able to see pass the bigotry of the day.
International success took this humble man to great worldly heights, he was awarded the Coronation Medal and was the toast of the town. His exhibitions sold out shortly after they opened and most kitchens had one of his reproductions on a calendar or tea towel.
Before the 1967 Referendum, Australian Aboriginals where denied Human Constitutional Rights and were categorised as part of the wildlife or wards of the state. They were denied most basic human rights and in an insipid twist of irony could not own their land as it had been acquired by the Commonwealth.
Namatjira’s unprecedented rise on the world stage would require him to have a passport and his growing wealth attracted taxes, thus him and his wife Robina were given Australian citizenship in 1957, enabling him to buy a house in Morris Soak .
Unfortunately his children were not granted citizenship and were regarded as ‘Wards of the State’ as all Aboriginal people were. They did not have the right to choose their marriage partner, be legally responsible for their own children,to change location or socialise with non-aboriginals. It also meant that when the Great Artist and his wife died the Legal Will that aimed to financially protect their children was made void as his children belonged to the state. Their financial copyright royalties were ‘acquired’ by the state and sold on.
The Namatjira Project began as an objective to buy back the royalties (which will expire shortly) but has become a legal investigation.
The most moving part of the film is when Namatjira’s homeless grandson gives his artwork to the Queen in her palace and walks away empty-handed. The documentary is a thoughtful journey, full of beautiful archives and an artistic vision, they tip toe over a mine field but I think they have let off a bomb.
*Due to the humane efforts of The Namatjira Project, the Royalties have been returned.
The Namatjira Family continue the water-colour tradition as their cultural inheritance.
THE NAMATJIRA PROJECT
DIRECTOR & CINEMATOGRAPHER Sera Davies
EXECUTIVE PRODUCERS (CULTURAL)