Directing
Set on the Upper Sepik River in New Guinea, this film records the day-to-day experiences of Kiap (one-man representative of the Australian government in regional areas) Barry Downes as he patrols an area that in 1963 had only recently been brought under control from headhunters. As well as being a record of the role of the colonial administration, Along the Sepik offers insights into some tribal communities' cultures through depictions of their spirit houses and traditional 'sing sing' ceremonies. Downes investigates a murder, and the culprit is caught and tried by a magistrate in a jungle courthouse under the Australian flag, on the edge of the Sepik River. Australian patrol officers and their men operated under rugged conditions to bring western law and order to this remote area. The film also portrays some of the impact the colonial government had on regional, traditional communities.
Yirrkala is an Aboriginal township on the Gove Peninsula in Northeast Arnhem Land. It was established as a Methodist mission in 1935 and over the years Yolngu from many different clans moved there. Conversations With Dundiwuy Wanambi is a personal film which reveals something of the struggles and thoughts of one elder in the face of enormous change. In the early years Dundiwuy was a heavy drinker. In a disturbing interview in a pub, Dundiwuy explains his reasons for drinking. Then, through a dream, Dundiwuy realizes he must begin to protect his family and clan. He establishes his Marrakulu clan homeland center at Gurka'wuy, south of Yirrkala. He will hold a great ceremony there. Years later Dundiwuy returns to Yirrkala. His clan is small and he did not receive the necessary support from his sons. But Dundiwuy endures, continues his struggle, and we learn in the post-script of how he has become a successful and sought-after artist.
A detailed record of the first stage male initiation ceremony of the Baruya of the Eastern Highlands of Papua New Guinea. A group of nine to 12 year old boys are followed through their first initiation - from the last days with their families through their nose-piercing and other rituals and ordeals to the final feast given in their honour. It is a tough time, the beginning of a ten-year journey to warrior and manhood.
Two Aboriginal families live like their ancestors have for centuries in this anthropological documentary. The gathering of food is the main focus as women harvest grass seeds to make a primitive flour for bread. Grubs, lizards, and fruit are also on the menu, with the only contact with the modern world being their trek to a government compound for much-needed drinking water.
In 1974, Narritjin Maymuru and his family are establishing a small settlement at Djarrakpi, an important Manggalili clan site on the northern head of Blue Mud Bay in the Northern Territory.
This film is a record of traditional Aboriginal dancing at Aurukun Mission on Cape York Peninsula in far north Queensland. Filmed in 1962 for the Australian Institute of Aboriginal Studies, it showcases and preserves Wik ritual dances and ceremonies at a time when customary Aboriginal life was changing and adapting to Western culture.
An archival record film of life at the small Madarrpa clan settlement of Bäniyala on Blue Mud Bay, some 200 kilometres south of Yirrkala.
A series of interviews with Dundiwuy Wanambi, shot over twelve years. They reveal the struggles of one man in the face of the huge changes brought about by the coming of a mining project, and alcohol, to north-east Arnhem Land.
Documentary covering Aboriginal leader Narratjin Maymurru's response to the unwelcome development of Nabalco Bauxite Mine, Gove Peninsula, during 1971.
In 1976, Ian Dunlop was invited by Dundiwuy Wanambi, a leader of the Marrakulu clan, to Gurka’wuy on Trial Bay in the Gulf of Carpentaria. He wanted Film Australia to record the first major Marrakulu ceremony to be held at Gurka’wuy since its recent establishment as a clan settlement. While they were there, a baby boy died. The Madarrpa men, including the child’s father and Dundiwuy, asked for the funeral to be filmed.Mortuary rites of the Yolngu are extremely complex. Despite some practical modifications to traditional ceremonies as a result of life on mission stations, ritual remains extremely strong.
