Spiritual Archaeology
DreamRaisers Sans Frontières
DreamArt Competition 2012– from the celestial to the terrestrial
Spiritual art is an integral part of our DreamRaisers Project. It started with the Wanjina Rising Competition and was developed to raise awareness of forgotten spirituality and to reinterpret Aboriginal tradition.
We extended the DreamArt themes to include Bradshaw prehistoric Australian cave art. We invite the DreamRaiser participating artists to explore ideas contained in the Bradshaw range of imagery.
Wanjina figures belong to non-Aboriginal prehistoric art in Australia. The images were created by the pre-Aboriginal race of AbRajani [Spiritual Archaeology], who created these images together with other distinct iconography, leaving them as a reminder of the ancient spiritual knowledge.
Aborigines kept telling the researchers they have no idea of who created cave paintings depicting Wanjinas. They said they found them when they arrived. Aborigines created several myths about the origins of Wanjina cave art, e.g. that the Wanjinas came down from the sky and emerged from the sea, created the earth, and then disappeared into the stone, leaving their image on its surface.
Over time, Aborigines got into the habit of repainting the images, sometimes disregarding the existing ancient picture and distorting it in various ways.
Having forgotten the meaning of this iconography, and unable to decipher the messages contained in these books-in-stone, they attached their own interpretation to this type of imagery, calling it a "rainmaker".
Bradshaw figures are another group of imagery belonging to iconography created by AbRajanes. This type of cave art was named after Joseph Bradshaw who discovered it at the end of the 19th century. Bradshaw paintings predate Wanjina paintings, and also belong to non-Aboriginal prehistoric cave art in Australia.
In contrast to simplified, static and geometric Wanjina symbols, Bradshaw paintings depict elegant, elongated, dynamic figures. These prehistoric dancers stand in lovely contrast, complementing the Wanjina figures. While Wanjinas are stable, heavy and unmoving, these Bradshaw dancers-on-the-wall have an ethereal lightness about them, and an uplifting air of playful interaction among themselves.
Aborigines told the researchers they have no idea who created the cave art depicting Bradshaw figures. They said they found them when they arrived and said that Bradshaw figures were "rubbish paintings". According to researchers who first documented these paintings, Aboriginal guides wanted to show their contempt for these "rubbish paintings" by painting some other image over the existing Bradshaw on the spot. At the same time, they were telling the researchers that they are called Gwion Gwion, after a bird, because they look as if a bird made them by pecking on the rock with its beak.
Because of that disregard, a lot of Bradshaw paintings were destroyed by Aborigines who painted over them.
Spiritual Archaeology and Spiritual Art pages will include the meaning and messages contained in non-Aboriginal art in pre-Aboriginal prehistory of Australia, as given by the Those-Who-Know [entities from other realms, the Wanjinas].
Rewriting Australian prehistory
The Those-Who-Know are giving such fascinating information from the akashic records, that human prehistory will have to be rewritten. Archaeologists will soon have to radically reconsider the current official view of ancient human history, which no longer holds water. They will have to realise that the oldest known remains of palaeolithic cultures do not represent the traces of human origins and the beginning of mankind, not the dawn of civilisation, but that they are the evidence and remnants of the fall – after the earth had already gone through several peaks of civilisation and evolutionary cycles.
In this new light on Australian prehistory, you will find information about prehistoric migrating tribes and their common ancestor-race of the Rajanes (the third root-race and its evolution through its sub-races).
You will also learn what prehistoric links the Australian Aborigines have to some tribes in Africa, and to some highly advanced cultures of the Shining Ones in India and Tibet.
You will also find the psychological profile of today's Aborigines, as given by the Those-Who-Know. By interbreeding with the white European settlers, the more recent generations of Aborigines have acquired a number of qualities and capacities of the white race, but tragically have lost Aboriginal sensitivity in the process.
Through decades of mistreatment and humiliation by the colonisers, the suffering of Aboriginal people led to their spiritual numbness. They have become so embittered that their spiritual awareness diminished. They gradually lost Aboriginal sensitivity which was their characteristic in prehistoric times, and lost their memory of the ancient knowledge that was passed on to them by AbRajanes.
It explains why so many of today's Aborigines are unable to interact and cooperate with mainstream Australian society. It explains how their suffering ended up in bad behaviour and violence that we find in so many Aboriginal communities today. It explains why so many of them are now using their increasing capacity and the benefits, so generously provided to them by the Australian Government, to express their anger and hate.
It explains why they missed the chance – given by the Those-Who-Know through the DreamRaiser project – to reawaken the dormant memory of the glorious past.
It explains why the Aborigines refuse to better themselves as Aboriginal elder Goomblar Wylo suggested they should – to go to school and get a job, to start earning respect instead of demanding respect by threats and violence – and why they choose to use this moment in history for revenge, saying that "this is the payback time!".
DreamArt Competition
Wanjina Rising Competition in Europe is organised by our partner Do Centre in Zagreb, Croatia, as part of celebrations of the 20-year anniversary of the Do Centre.
Participating artists in Europe can obtain entry forms from Sensei Boro Ranitovic, Anan-Do teacher and director of the Do Centre in Zagreb, email: boro@anan-do.com
Sensei Boro and his team of senior students will conduct DreamRaisers workshops throughout 2011, providing information and guidance to local artists and competition entrants in Croatia.
Details of exhibition venues will be announced closer to the event. Entries will be selected by a panel of judges, convened by Sensei Boro. The winning artwork will be announced by Vesna Tenodi, Wanjina CEO.
Frequently Asked Questions – What Wanjinas Want
The Wanjina Rising DreamArt Competition is attracting attention from visual artists from different countries, of all ages and background, beginners and well-established, hobbyists and professionals alike.
Here are some of the most frequently asked questions about our project in general and Australian prehistoric cave art in particular, with some of the answers and explanations as given to me by my main Teacher, Master Ananda (the Master-of-the-Fifth-Level) and the Those-Who-Know (the Masters-of-the-Sixth-Level).
Are you focusing on Aboriginal culture because you are an archaeologist?
No. Archaeology certainly helps in finding parallels in various traditions and motifs common to all prehistoric cultures, but for me the love of Aboriginal past started in the late 80's, when my teacher Master Ananda gave a talk about its importance and latent value, urging Australian society to stop ignoring Aboriginal tradition. Back then, Master Ananda said: "Unless there is an immediate and radical change in white society's attitudes, Aboriginal tradition will be lost forever."
The talk was published in 1990, as an essay entitled "The Sun Eclipsed". We were attacked and ridiculed by mainstream society, for publishing material in praise of Aboriginal culture; at that time Aborigines were still treated appallingly.
Now, twenty years later, mainstream society has changed its tune and these days it is quite fashionable to be associated with anything Aboriginal. We see a sharp and sudden increase in the number of Aboriginal people, as a lot of blue-eyed, fair-skinned people suddenly claim Aboriginal ancestry. Everyone seems to be jumping on the bandwagon, trying to appear to be an advocate for Aboriginal rights. And again we are under attack, for the book "Dreamtime Set in Stone" and for our art which have the objective to revive and reinterpret Aboriginal tradition.
Some of those attacking us are the same people who objected to our 1990 essay, and again misunderstood the values we stand for.
I heard people say that, as a white European woman, you have no right to use Aboriginal themes or speak on their behalf, so who does?
That's another example of reverse racism. We and our artists have heard all sorts of insults, ranging from being ignorant wogs to being disrespectful and arrogant. All I say is that I have the right to do what I do, as given to me by the Those-Who-Know, whom you can also call Wanjinas.
I read the article that claims that the Aboriginal people didn't give you permission to speak on their behalf, but you still do?
No, I don't. I do not speak for Aboriginal people. I speak for Wanjinas, to the Aboriginal people. And to mainstream society, and to the rest of the world.
No one needs any permission to be inspired and explore whatever imagery they want. Aboriginal mythology is no different than any other mythology on earth, and Australian prehistoric cave art is no different than any prehistoric art in any other country – it is all in public domain and artists are encouraged to use it.
I invited Aboriginal people to pause and think What Wanjinas Want? – but they were unable to do that. When one very angry local Aboriginal elder objected to our use of prehistoric imagery, I told her that I am not going to ignore my Teachers, and the Wanjinas' wishes, just to please her... that would be much the same as if Jesus decided to ignore God just to please a few Pharisee priests.
When there is a discrepancy between what Wanjinas want and what individual Aborigines want, to me it is a no-brainer. Wanjina wins every time.
Some say your artists have no right and no permission to paint and sculpt Wanjinas, that you are in breach of copyright, but now you are inviting artists from all over the world to do exactly that, am I going to be attacked if I join your competition?
Brad Moore, Aboriginal officer at Blue Mountains council, kept spreading those lies, but that was soon refuted in a number of articles and programs, such as:
Fortnightly Review on IP and Medial Law on 29 July 2010
Art Law Centre September 2010 newsletter
ABC radio segment on 19 May 2010 Can copyright be claimed on Kimberley Aboriginal Wandjina art?
ABC Law Report on 29 June 2010 Wading into the Wandjina Controversy
ABC Kimberley program on 20 October 2010 Stony response to Wandjina sculpture
It took more than a year, but people now realise that every artist has the right to be inspired and influenced by any imagery and any idea they find important and can resonate with. That constitutes the basic artistic freedom.
Copyright law does not apply to prehistoric imagery. Intellectual property law does not apply to ideas. Artists are free to explore any idea, image and symbol they choose.
Therefore, you do not need anyone's permission. If someone starts harassing you or attacking you with lies, keep in mind they are just bullies, trying to intimidate you, and ignore them. If, as a matter of courtesy, you wish to notify someone, there is no need for that, it's done. In the context of the DreamRaiser project, I've done it for you.
I hope it's now clear, you need no permission to explore any prehistoric imagery. What you do need to do is to listen to your conscience and look into your own heart. If you know your intention is pure, if you wish to contribute to spiritual survival of the world through participating in the revival of the best of the forgotten spiritual traditions, you are doing the right thing.
Why have you decided to encourage white artists to explore Aboriginal symbolism?
To quote the late Chogyam Trungpa Rinpoche: "If you want to enlighten society, you need to change the culture. If you want to change the culture, you need to change the art."
And, I would add, if you want to change the art, you need to change the artists, and choose only the truly inspired and fearless ones.
In our unenlightened world, most people are aware of the urgent need for change, but are too lazy or fearful or simply do not know how to go about it. Art is a wonderful way to contribute to positive change. The DreamRaisers project is about that radical, global change, using prehistoric symbols.
White, non-Aboriginal artists can have a fresh approach and deep insight into Aboriginal spirituality, much like some of the best books on Buddhism were written by non-Buddhists. "Stick to your own culture" is a very primitive view where art is concerned.
And, of course we would be delighted to have Aboriginal artists enter our competition, if they are truly inspired and have the courage to look beyond the obvious.
Can I submit a painting based on different ancient symbols, from some other old culture?
No. In early May 2010, the Those-Who-Know gave the following explanation:
"Australian Aborigines are the last remnants of the Third Race. The core teaching of that race contains important points which the whole world needs. We offer a way to help them revive the forgotten wisdom and pass it on to the current Fifth Race, so the world will not self-destruct.
If the Aborigines were to realise the important role they could play in the spiritual survival of the world, they wouldn't react with such anger when Vesna conveys what the Wanjinas want. When we say they are the dying race, in slumber, disconnected from their own tradition, and there is an urgent need to revive the best, the forgotten core of that spirituality, those are statements of facts, but they take those as insults.
They need to overcome that rage and find enough love in their hearts to pass on what we ask them to pass on, like loving, dying parents, trying to hand over the best of their knowledge on to their children, for their own spiritual survival.
And they should realise what an honour it is that we chose Aboriginal culture to save the world. And they would then be proud of having a chance to fulfil their role.
And they would embrace Vesna and respect the SkyGod's choice. The SkyGod decided to speak through her, and if they refuse to accept it, they'll feel his wrath.
The world is spiritually dying. The Aboriginal race, within its tradition, has answers that can help the Fifth Race to balance the heart and the mind. Intuition and ratio. To align the lower pyramid with the upper – the material with the spiritual.
That can be achieved through cooperation We need each other. The fifth race is overly intellectual, and lost. The third race was overly spiritual, and equally lost, ignoring the demands of the material world. Now we see they have neglected and forgotten most of their spiritual knowledge too.
Today, Aboriginal people are increasingly out of touch with what they call the law, keep self-disconnecting from it through anger and hate. They need to remove that fury, remove anger, remove rage, remove hate, remove pain. Think about the best, and give us the best. And we'll give you our best.
Vesna has a task to facilitate this interaction which would mean the exchange of the best between the third and fifth race. At the moment, those are worlds in collision. The differences in orientation, priorities and values cause the conflict. The members of the third race, instead of reawakening the best in them, react with the worst in them, with extreme rage and pain, caused by centuries of humiliation and suffering.
As Goomblar said in the Dreamtime Set in Stone: 'Every group should fix themselves first, and then interact with others'. He put it beautifully. When you fix yourself and interact with others, you can help the others. If a broken self interacts with others, he can only break the other. Goomblar was unaware he was making an extremely important statement, because he was inspired, because Vesna succeeded in drawing out the best out of him, she extracted the Dreamtime from Goomblar. And because of that moment, Goomblar is bound to us forever."
This is why we concentrate on Aboriginal mythology.
Can I paint equivalent beings from closely related traditions or mythology, from South American Indians or Asian traditions?
Yes. When we started the DreamRaisers project. we concentrated on Wanjinas as found in Australian prehistoric cave art. But since the Wanjina-like beings are also found in a number of other prehistoric sites all over the world, you can say that imagery belongs to some other tradition and that would be correct too. For the purpose of the DreamRaisers project, we refer to all similar imagery as Wanjinas.
What, exactly, are Wanjinas?
"Wanjina" is just another name for the Masters-of-the-Fifth and Masters-of-the-Sixth-Level, that can be defined in a number of ways: as celestial beings, esoteric teachers, mythological entities, legendary ancestors, creators of mankind, architects of the universe, or simply the Gods. The term Wanjina can refer to the head Wanjina or any or all of particular Lesser and/or Greater Wanjinas. Its singular form is often used as a common noun, referring to all Wanjinas.
According to the Those-Who-Know, Wanjina is just another expression for a heavenly hierarchy, overseen by the SkyGod.
Are the Wanjinas specific to Aboriginal tradition?
No. As explained, similar images of celestial beings are found in other ancient traditions. But the term "Wanjina" is from Aboriginal mythology.
Aboriginal mythology and symbolism find their parallel in other ancient traditions and include the same concepts as any mythology and religion.
Does the Aboriginal tradition include Aboriginal religion or spirituality?
Some textbooks use "Aboriginal religion" when addressing Aboriginal spirituality. Some say those two terms should not be confused.
Some experts explain that the "spiritual" relates to people's deepest thoughts and beliefs, rather than to their bodies and physical surroundings, while "religious" is defined as something that is about or connected with religion, the belief in a god or gods and the activities that are connected with this belief, such as prayer or worship in a church or temple. Hence spirituality is the foundation of religion, the deeper layer of any religious practice and expression.
Wanjina symbols can be regarded as either a religion or mythology, and find the equivalent in myths about Zeus, Amon-Ra, the Sun-God, or Quetzalcoatl.
Aboriginal tradition stresses Wanjina the creator and Rainbow Serpent as its creative expression. This is the same concept as found in Yin-Yang symbol.
But the Those-Who-Know point out the importance of Trinity, and are reinterpreting the Dreamtime to better explain the dynamic interaction in the heavenly hierarchy – much like the Father, the Son, and the Holy Spirit, or like Vishnu-Shiva-Shakti concept.
Or you can imagine it as a modern company or as office dynamics: there is the big boss, who is in charge of everything but does not deal directly with every particular issue; he conceives an idea, puts it forward, and has a small number of selected trusted "architects" to get busy, working on formulation and implementation of His idea. Those architects then hand the blueprint over to the office workers, to materialise the idea, translate it into reality, which is a task for which they need to be adequately inspired.
There is a lot of confusion between the traditional Aborigines and those who adopted Christianity, but there is no need to argue over words, as there are the same core ideas explained in different terms.
Oodgeroo Noonuccal, Aboriginal writer, put it well: "Some little children come in and say 'but God made the world'. And I say, 'Yes, according to the Bible, yes, God did; but according to my spiritual beliefs my rainbow serpent made these things', so we don't have any arguments over that either; they understand: religion is their way, spiritualism is our way. They understand."
While drawing a parallel between the Aboriginal tradition and Christianity, she got it somewhat wrong, but the main message is the right one, there is no need to argue over different interpretations of the same idea.
How do Wanjinas want to be painted?
We enjoyed the workshop, it was informative and fun. Most of us need to improve our skill and we will practice at home, what would be a good setting to foster inspiration?
Outer or inner setting? Let's mention both. The outer surroundings should match the inner state of calm, so approach your practice as you would approach meditation, keep the distraction and noise to the minimum. Choose a time of day when you are not too alert or tense, nor too tired, but in a kind of neutral state.
What should I think of while painting Wanjinas?
This depends on your skill. In the beginning, you obviously need to concentrate on mastering the technique, thinking of colour and composition. In any art class, students start by copying, trying to duplicate what they see. This is good practice to steady the hand and learn the technique.
Once you are reasonably good at having your hand executing your intended shape, you can shift focus and think about the idea behind the image.
Think of Wanjinas as carriers of ideas. Associate your image of the Wanjina with the particular idea. What does your Wanjina of justice look like? Paint that. What does your Wanjina of hope look like? Wanjina of peace? Look at Gina's Wanjinas and you will know what I mean. While painting Wanjinas, she painted the ideas behind them.
If that seems too hard, you can start with lesser Wanjinas, associating them with the material world. What does the Wanjina of the sea look like? How about Wanjina of rain? Of sun? Of clouds? Choose any of the natural elements or forces of nature. Choose animals or animal qualities. Perhaps your Wanjina will be big, strong and gentle like an elephant. Or soft and smug like a cat. Intense and tense, ready to pounce, like a tiger. Relaxed and cute, like a koala. Imagine your Wanjina as an elongated streak of light, like a comet shooting across the sky.
Imagine. Associate. Go for crazy combinations. Use opposites. Play. Don't think of Wanjinas as some boring sages overseeing the world with sullen face and permanent scowl of disapproval. They are very serious, but versatile, and they like seeing a playful approach.
I started a small group with a couple of my artist friends. We like the idea of the DreamRaisers project, striving to reassert artistic freedom in Australia. Can you expand on that issue?
Not only in Australia, there are always attempts to stifle artists and approve only of the art that goes hand in hand with state politics. Just look at socialist realism, and dictatorships where generations of artists had no choice but to use themes from the state sanctioned list.
Wanjinas define artistic freedom as the freedom to explore the highest ideals, freedom to think, freedom to consider, freedom to circle around any chosen issue. Artistic freedom is the core issue of the DreamRaisers project, it is the freedom to expand our inner boundaries, break out of mental confinement, and overcome conditioning. Freedom to venture beyond the prescribed framework.
That is not to say that any type of exploration is good or recommended. We don't need a type of freedom which leads artists to explore negativity, to explore the darkness or death or decay. The Those-Who-Know are interested in artists who are idealistic, who explore the light and life and the positive. The type of artists who can contribute to this movement for improvement.
I like the idea of your art being connected with social activism. Although art should be meaningful in and by itself, it is good to see a purpose beyond art for arts' sake. Does that mean DreamRaisers are activists?
Perhaps. It all depends. Not any kind of activism is what Wanjinas want. Although the term "activism" implies action for the better, not all activism is deemed to be good and positive. If it causes destruction, degeneration, even stagnation, it's not true activism. People who are always angry, who punch the air with their fist and insult others, are not activists; they bring darkness and confusion, their mind is like muddied water, with no clarity of vision.
Wanjinas welcome only those true activists, who create something meaningful, and contribute to overall wellbeing on every level.
It was an uphill battle, but the artists can rest assured, Australian law is very clear:
Exploring Aboriginal mythology is OK.
There is no copyright on prehistoric art; intellectual property law does not apply to ideas; artists are free to create artworks inspired by any ancient tradition they choose.
Nobody needs any permission nor authorisation to render their own interpretation of any imagery they find inspiring.
Over the last eight months, these facts were confirmed time and time again, by a number of experts. It is also confirmed in the article by the Art Law Centre, published in their newsletter of September 2010. Even though they do not like it, they clearly confirm what Vesna and her artists have been saying all along. It also confirms that the local objectors' slanderous accusations were rejected by the Australian Competition and Consumer Commission (ACCC) and other authorities.
Arts Law Centre of Australia confirms: Wanjina Watchers in the Whispering Stone is original artwork by Ben Osváth
[While devising the way to deal with the Wanjina Watchers sculpture by Ben Osváth, the Blue Mountains City Council followed the recommendations of their Aboriginal cultural development officer Brad Moore, who since March has been falsely claiming that the Gallery is in breach of copyright and intellectual property laws. He has until this day failed in his duty to establish the facts, and instead urged the council to send the letter to a number of legal and Aboriginal bodies throughout Australia, with an invitation to object to the Wanjina Watchers artwork, in the hope that they will find a way to support his false claims.
On 12 October 2010 the council made a decision – to approve the ModroGorje gallery and its sculpture garden, but at the same time to issue an order for the removal of Wanjina Watchers in the Whispering Stone by Sydney artist Ben Osváth.
On 20 October 2010 the ABC radio Kimberley explored this issue in interviews with Vesna, as well as with the Mayor of the Blue Mountains, and Donny Woolagoodja:
ABC Kimberley: Vesna Tenodi is following Wanjina's instructions
[Spirit of Debate - ABC TV news 23-10-2010
Wanjina Watchers in the Whispering Stone - Vesna Tenodi & Ben Osvath [view here]
Croatian Herald Exclusive: Death of artistic freedom in Australia – local council supports the vandals [here]
[Wanjina Rising Workshops
The Wanjina Rising Competition, initiated and guided by the Those-Who-Know, and coordinated by Vesna Tenodi, is generating a good response both in Australia and overseas.
October 2010:
DreamArt child – Showing the Way
 |
 |
 |
 |
 |
We are delighted to see that the July workshop in Croatia attracted 21 participants, who concentrated on exploring different media and Wanjina imagery, with Vesna supplying essential information on Wanjina symbology and meaning.
Participants in Australia are getting busy too and are also exploring different media, including a conceptual approach, sculpture and 3-D installations.
http://www.facebook.com/TAI.CHI.and.CHI.KUNG
DreamRaisers – Opinions & Comments
Most people forwarded their comments with their full details and consent to publish those comments under their full names. They understand the meaning and see the beauty of the DreamRaisers project and by having courage to openly say so they’ve become the participants in the project.
We appreciate their support, but feel responsible for their wellbeing. Therefore, we decided to publish those comments without names, to protect them from any possible backlash.
As a Katoomba local resident, living in Lurline street, I used to see the Wanjina Watchers sculpture every day, close up. But the other day I drove with a friend to the Echo Point, and while driving back along Lurline street, as we were approaching it from the distance, I saw it for the first time from that perspective and it looked magnificent!
I was so impressed, and realised the sculpture complements the feel of Lurline street and really belongs here, it fits in so nicely I can see it becoming a wonderful attraction, a drawcard for Katoomba. If it were removed, that would be a huge loss for the community and for our region. As a local resident, I would really miss it.
I think it is good that Katoomba has a new energy; we should welcome people with new ideas and encourage initiatives like these, after being stagnant for so long.
I am of Aboriginal descent and live in the lower Mountains. I think we need to step back and look at the big picture. The Wanjina Watchers has not been created to cause disharmony, but to bring us closer together and to help us understand the Aboriginal culture as a whole. The main street of Katoomba is covered with symbols of other cultures, such as the life-like sculpture of meditating Buddhist monk in the front window of a restaurant, and no-one is complaining about that expression of spirituality.
When we step back and look at who we have evolved to become, we can see that reacting to the creative expression of another by threatening their life because they are inspired by our culture – one can see that we haven’t evolved at all.
I wish my people would recognise the inspiration for the Wanjina Watchers sculpture has come from the same source as our sacred Wanjina images in the caves of Kimberley.
Society today should be looking for ways to create unity for the human race, not to encourage separation through skin colour, race or cultural differences.
Art is about breaking down barriers, extending borders and pushing boundaries, and Wanjina Watchers artwork offers a new perspective, opportunity to all of us to learn, to grow, and to connect with each other.
Let’s open our hearts and minds to this free expression of universal spirituality. Our Aboriginal community in the Mountains should be proud that our sacred images have been honoured in Wanjina Watchers sculpture.
Dear Vesna, as an Aboriginal person living in the Mountains, I wanted to find out more about what you do. I’ve read your book, couldn’t find anything wrong with it, and I want to ask you – how can I help?
Aboriginal person’s appeal to the Blue Mountains community: Please try to take a positive view of the Wanjina Watchers in the Whispering Stone artwork, instead of being destructive. As a person of Aboriginal descent, I believe we should be supportive of the artists and welcome their interest in our culture.
I live and work in Katoomba. I am a part-Aborigine and I am ashamed of what my people are doing to you and your artists. It seems that the Aboriginal community is still stuck in the lowest triad energy-field, and cannot make a leap to the fourth chakra and view the world from the heart-chakra energy field. While stuck within the lowest spiritual level, they’ll keep up this campaign of anger and hate. I would love to explain the attitudes in terms of quantum physics, and explain to them the law of interconnectedness, but while they are so angry and emotional there is no point in trying to explain. I support you one hundred percent and hope with your patient persistence you’ll be able to gain support of all of my people.
I wish to apologise to you for not voicing my feelings at your sculpture unveiling event. That angry Aboriginal guy insulted us all with his ranting, but as you understand I work with them and I have to remain neutral.
[from the web] The gallery owner says "It was actually the other way around – the DreamTimeKeeper spirits asked me to do this. They asked me to revive the tradition which has turned into dead knowledge, and I agreed" taking an "oath of secrecy".
I say, a Wanjina is surely like a Buddha, every home should have one!
[from the web] Wanjinas are like cloud spirits, aren't they? When I see big storm clouds I think of Wanjinas. I think white Australians can 'get a feeling’ for the Aboriginal spirits if they are open.
I don't see why the artist can't honour the Wanjina. After all, Aborigines can become Christians or Buddhists and practice those traditions, so why can't a white person practice Aboriginal ones.
[from the web] After reading this story several times I can conclude that my sympathies are with the hippy artist.
[from the web] I happen to think that art is pretty cool, but everyone is a critic as they say...
[from the web] It is nothing new that artists turn to the sacred for subject matter. Christian and African are just two of countless examples where art depicts imagery that is considered holy by believers.
[from the web] How is this different from when the Christians get all up in arms about “blasphemous” art? It’s not. Freedom of expression is being stifled here.
[from the web] Apparently, in the bizarre world of political correctness, even a compliment is offensive. I wonder if ethnic cleansing is still frowned upon.
What is this “white person cannot do Aboriginal art” crap? Have they never heard of reincarnation? Who is to say the white artist hadn’t been an Aborigine in one of his past lives?
Dreamtime Set in Stone – the Truth about Australian Aborigines,
as requested by the Those-Who-Know
Readers’ comments:
Hi Ms Vesna,
I read your book, "Dreamtime Set in Stone". It was a great adventure for me, as I got to know much more about Aboriginal culture and history.
It was just awesome. I didn't know there were such stories in their past. I learnt a lot from the book. I learnt the bad experiences that people had in the past have big impact on their future. Also, that we can judge people from their appearance, but if we want to really understand someone, we need to see the world from their point of view.
Keep it up Vesna. It’s a great book!!
Dewi Suciawan
Dear Ms Vesna,
I read your 'Dreamtime' book and found it absolutely delightful. You greatly succeeded in you intention to bring to light the truth about the Aboriginal people in Australia and their condition, through your interviews with the Aborigine Goomblar Wylo.
I liked the way you outline the colonisers' attitude towards this continent's Indigenous people, as well as the relations within the Aboriginal tribes and their personal views and attitudes.
You are a very brave and honest author, as the truth you are voicing is quite painful and places the blame where it should be placed.
I read a lot of books about those topics, and have been following the TV and radio programs and newspaper articles dealing with the Aboriginal issues, but your book brings this subject matter much closer to the reader, as it is written in exceptionally convincing and comprehensive manner.
It is good that the reader can learn how the colonisers treated the Indigenous people, getting rid of them as useless, taking their children away, to sexually abuse them, and to fully realise how Aboriginal people were used and abused.
Goomblar was very straightforward when talking about other Aborigines, about those who refuse to educate their children, refuse to work, and just make trouble for those among them – like himself – who make an honest living and feed their families by playing didgeridoo.
It's also good that Goomblar mentioned that long-requested and awaited apology, Sorry as finally given by the Prime Minister Kevin Rudd, although so far we saw no major results of that, as the financial support and help to Aboriginal people has been all but disappearing through all those committees and unnecessary bureaucracy.
I was also happy that some of the people of non-English background are also mentioned in the book, those who were interested in the Aboriginal cause and contributed for their culture to become well-known world-wide and adequately appreciated by all.
What concerns me is that such a large number of Aborigines have embraced the negative habits the colonisers brought with them, such as drugs and alcohol, while they refuse the embrace the positives, such as education and work-ethics, but insist on living as they used to live thousands of years ago. That cannot bring them any progress or prosperity. I sincerely hope your book will help in changing all that.
Ana Matic, retired teacher
Dear Vesna,
it was lovely to meet you. I read your book and it is consistent with my experience. I know the Shillingsworth kids, as they used to holiday in the Sutherland Shire at an Anglican establishment, and the Shillingsworth boys I met have been in and out of goal. My brother and his wife helped them on occasions.
Pamela Griffith, artist and art teacher
Dear Vesna,
'Dreamtime' is simply unputdownable! I am delighted you are exploring that theme within your ModroGorje Project.
Amadeo Dujmovic, Anan-Do teacher, Zagreb, Croatia
Dear Vesna,
I read your book on 1st of January, it was a good start to a new year. I found it so gripping, I get the goose bumps just thinking about it. It was very courageous thing to write such a book, and I absolutely agree with everything you said.
But what impressed me most was Goomblar and his thoughts. I think he is quite an admirable man. He is taking a huge step by leaving all that resentment and anger behind and moving forward and reconnecting with the white community through playing the didgeridoo for the white people, despite the fact he was facing so much opposition from his own people. It was an incredible step forward and he is a good example to the Aboriginal community. If every Aboriginal person were to think and act like that, we could have true reconciliation and then we could hope for peace and freedom, if they were to find some balance, instead of having all that pain and hatred.
Goomblar is not just talking, he is showing them by example. Another huge step for him was to cooperate with you on this book, that was an enormous step. He needed to find incredible courage to be able to do that, to describe all the pain and suffering he went through in the past.
He is an extraordinary, very strong man, and I think he is very spiritual too. I wish him well and I wish the Aboriginal community well, and I hope the best will come out of it.
As for Gina's Wanjina paintings, what can I say, her art is in class of its own, and beautifully complements the text.
Michael Chotar, security systems specialist
Dear Vesna,
I loved Gina's Wanjinas exhibition, but only when I read 'Dreamtime' I fully understood how it goes with the ideas in the book.
Goomblar is such an impressive man. Last year, he gave a special performance at the Edge for our community group, we all enjoyed the show and got to like him both as the performer and as a person. He was so kind and welcoming, he is a beautiful soul.
I think none of us will ever again be afraid of the Aboriginal people.
Nadia Fazlic, painter and sculptor
Dear Vesna,
Thank you for the great experience. Wanjinas by Gina exhibition was a lovely event, and I was lucky to have Nadia explain to me all the symbolism in her paintings.
What moved me most was the 'Narrow Neck Jumper' triptych, and what a deep message it carries. I think I'll have to keep rereading the 'Dreamtime', it seems to be deceptively simple, while it actually presents a number of layers of meanings and messages.
I also enjoyed Damir's book 'Fear of Self – how to cope with stress and depression' and found it to be a great tool for all of us who get disheartened by life. Like that book, I found the ‘Dreamtime’ very inspiring, there is lot of us with tortured souls who can empathise with other people who suffered.
The book moved me deeply, and standing in front of Gina’s Wanjinas, what can I say, it touched my soul. It is often much easier to analyse and discuss something on the intellectual level, but to feel it like I felt it, that’s a healing process and I thank you for all you do. Master Damir often talks about inner fragmentation and teaches us how to reintegrate our body and soul, and now I find your book a great contribution in that healing process. The same as your first book, ‘Which Way Home?’, that made a lot of people happy, those who had no voice until you’ve given them the opportunity, and our community sees you as a true ambassador of the oppressed and disadvantaged.
I hope the Aboriginal people will realise what a great thing you are doing for them.
Both you and Damir are such a great gift to this world, showing by example we all need to be fearless and stand up for our principles. You explore difficult topics that not many people dare to tackle, but you offer help and solutions at the same time, and I want you to know that your wisdom and guidance are much appreciated.
Vera Damjanovic, science professor
My children and their families read the book and they all enjoyed it. Maria and Jenny were especially delighted, and said it’s a lovely book, presenting such a realistic view in a reader-friendly manner. Goomblar has become a real hero, just as I’ve known him to be.
Gina Sinozich, artist
Dear Vesna,
The DreamRaisers project, and the concept of it, is very much how I have got to know you over the years – positive, spiritual, earnest. The constituent parts of the ‘Dreamtime’ book all carry their own weight – Gina’s art is meaningful in itself and can be enjoyed even by those who have not yet read the book. Goomblar’s performance is interesting, so there is something for the ears to enjoy too. And there is food for thought in the text for those of us who like reading.
I would argue some of the ideas in the book may be too optimistic, too hopeful and overly enthusiastic, as the reality seems to me to be much darker than that, but I commend you for having such faith in humanity.
I always say we need more people like you in our world, who are willing to dream, more of those who dare to trust, so I keep telling everyone – we need more Vesnas.
Jan De Zwaan, psychologist and linguist
Dear Vesna,
I read a lot about the Aboriginal people and their culture, and I think I was the first one to read your book. I think it’s a big plus for them that one of their people decided to speak out. To me, the ‘Dreamtime Set in Stone’ is such a positive book, and both you and Goomblar showed great courage to work on such an honest and truthful book. It’s very unusual to find such courage, people are usually too reluctant to talk about bad things or bad experiences… I found it sad that, for example, most of the raped women in Bosnia and other abused people who were tortured and victimised during the ‘90s, still find it hard to talk about it, as if that was their fault. It’s also a cultural thing, some families see it as shameful to talk about it, they keep those things hidden from public. That mentality can be found in lot of other cultures, including the Aborigines.
Perhaps that’s why I think Goomblar is a great man, having courage to speak out about all that personal pain and problems in Aboriginal community. He is a public person, a performer, and that makes it even more impressive, you cannot find many people in public eye who are so honest.
He has risen above the average Aboriginal people and their mentality, perhaps they’ll be angry that he decided to tell the truth, or even jealous of him for being able to see the other point of view. But they should be very proud of him and see him as a role-model. The same as with their athletes, they provide a good example, and I hope that Goomblar will help change that mentality and inspire them to sit up and pay attention. It is difficult to change people’s habits and attitudes, and 200 years is relatively short time, some nations like mine had many more centuries to grow and adapt, and still cannot change their ways. But if even a handful of his own people were to follow his example, that would be a great thing.
And the illustrations are marvellous. I love Gina’s naïve style. Some would say it’s childlike art, but when you look more closely and see all that imagination, it’s unbelievably beautiful.
I was there at the book launch and saw those protesters who made a scene with their nasty behaviour, and I talked about it with my friends who were also there. We all agreed you handled it so well, kept your cool and were so nice to them despite their offensive behaviour. We also found it laughable when those protesters started screaming and carrying on that you shouldn’t have done this or that, as we all know that you would never do anything wrong; we know you well through your community work and there is no doubt in our mind that you always follow the proper procedure. And the way they insulted Gina, we found that unforgivable.
Sometimes I think there is no deeper philosophy behind their culture, and what they themselves say about their past is so foggy and fragmented as if they are quite lost and confused, and Goomblar explained it so well. But that might also be a reflection of our society, who kept ignoring them for too long.
Lejla Hajdur
website under construction, meanwhile visit: anan-do.com
