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Perdaman plans to REMOVE four sacred rock art sites to make way for a fertiliser plant development.
It runs deeper than just verbal and online abuse. The simplistic slogan partly reflects the widespread ignorance of what racism is, how it functions and the ways in which it appears. Slogans are meaningless if the league continues to partner with entities which are detrimental to Indigenous Australians.
In 2015 FARA offered for the first time a complimentary place on the tour for a selected artist. We know that many artists have shown great interest in this area and FARA was keen to facilitate the creation of more work that draws attention to the need for protection of Murujuga’s rock art.
We appreciated that every artist would approach the experience differently and we did not have pre-conceived ideas of what may come from this opportunity. There was no expectation that the artist would produce ‘protest’ art, although protest at the threat to this unique cultural heritage may form a part of the artist’s work. We also appreciated that work may not be produced during the week of the Tour but that this would form the basis for developing future artwork.
Artists working in any art form were encouraged to apply. We were keen to hear your ideas and what artists thought this opportunity might have led to. The FARA Committee determined the successful artist according to the proposal that offered the most exciting opportunity forFARA from an artist with a proven capacity to deliver.
All artists were expected to respect the cultural traditions and protocols of Murujuga’s custodians in the creation of their artwork.
FARA negotiated with Marina Baker, who was the successful artist, for access to use the work to help spread the word about the rock art of the Dampier Archipelago and its need for improved protection. Ownership of the original work remains with the artist and any copyright arrangements for use of the work are negotiated in line with Creative Commons licensing. We expect acknowledgement of the opportunity provided by FARA. We do not expect any commercial gain from an association with the artist or the artwork; FARA’s interest is exclusively to broaden the reach of its public awareness raising.
Marina’s drawings relate to the immediate impressions she got from the being on country and travelling through the landscape, and she also complimented some of those sketches with poetry. This creates a very delicate balance between images and text, delivering what the artist’s feelings were in an all-rounded manner.
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“I’m at a bit of a loss for words. A truly wonderful experience, unfolding over the days and intensifying. I am very grateful. Excellent combination of crew and guides. Jam packed program allowed for range of activities and responses. Hats off to the tour team. Well looked after and comfortable at all times. Rock art awesome. Will treasure my memories of the time & place…”
All of FARA’s activities are undertaken by volunteers who are passionate about the protection, preservation and promotion of rock art, particularly that of the Dampier Archipelago.
100% of donations are used to fund FARA activities, grant application fees, travel expenses to the Burrup Peninsula, fund-raising, grant writing, media relations and records/data management. Any help you can provide is greatly appreciated.
Perdaman plans to REMOVE four sacred rock art sites to make way for a fertiliser plant development.
It runs deeper than just verbal and online abuse. The simplistic slogan partly reflects the widespread ignorance of what racism is, how it functions and the ways in which it appears. Slogans are meaningless if the league continues to partner with entities which are detrimental to Indigenous Australians.
The Burrup Peninsula (or Murujuga) is a unique ecological, spiritual and archaeological area since it possibly contains the world’s oldest, largest and most important collections of petroglyphs and ancient rock carvings. The peninsula is part of the Dampier Archipelago which is comprised of 42 islands in a 45km radius. The Burrup Peninsula, approximately 27km long and 5km wide, was originally an island that formed part of this grouping until it was joined to the mainland in the mid-1960s by a rail and road causeway built by industry.
The Burrup Peninsula is located on the north-western coast of Western Australia on the Dampier Archipelago.
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The original inhabitants of the Dampier Archipelago were the Yaburara people who were massacred over an eight day period in February 1868. This genocide occurred at various locations on the Burrup and in the waters of the Archipelago in what is referred to as the Flying Foam Massacre. The current claimants/custodians are the Ngarluma Yindjibarndi, Wong-goo-tt-oo and Yaburara Mardudhunera peoples.
It is located:
Dampier Rock Art Precinct comprises possibly the largest concentration of petroglyphs (rock carvings) in the world and possibly the largest number of megaliths (stone arrangements) known in Australia. Estimates of the number of rock art motifs range from 300,000 to well over 1,000,000 images. There are many types and styles of carvings in the Archipelago, which are thought to represent a period from our recent history up to 40,000 years in age, straddling the last ice age some 17,000 years ago. The place constitutes the greatest continuous cultural site in Australia.
The Archipelago is also a site of great aesthetic attributes, visual and non-visual, being the place where the magnificent hills of the Pilbara meet the Indian Ocean. It has considerable value as a geological showcase and it is home to three endangered animal species and 39 endangered or endemic plant species. It has impressive marine life (dugong, turtle beaches and whale nursery) and wetland areas. But its significance as Australia’s largest monument to Indigenous culture completely overshadows all its other qualities. Its importance to Australia and the world is apparent by the fact that it meets all of the nine criteria for World Heritage listing.
Petroglyphs are numerous in many other parts of Australia, but nowhere do they even remotely approach those of Dampier in terms of number, history, variety or continuity. The rock art of the Archipelago remains an important cultural focus for Aboriginal people in the region, comprising as it does thousands of sacred images and ceremonial sites (e.g. tharlu increase sites). It remains an utterly sacred place not only to the local Indigenous communities, but also for all Australians and, indeed, all people. This quintessentially Australian and entirely unique cultural property needs to be included on the World Heritage List. It is a place of unparalleled artistic, cultural, religious and historical significance, as well as a place of magnificent natural beauty.
In 1962-64 the Western Australian Government determined to use Dampier Island (Burrup) in the Dampier Archipelago as the location of an outlet port for the iron ore industry. It did so seemingly on the basis of an incorrect report from the WA Museums department that had indicated that there were only 200 carvings in the Dampier Archipelago. By 1973, Enzo Virili had recorded 6,000 carvings on the Burrup in a 5 square mile area and 4,000 of these were in Gum Tree Valley alone. No further evaluation, that has been sighted, was ever carried out into the suitability of this area for industrial development, either based on site costs, environmental or heritage values.
There have been a number of reports into planning for industrial development of the Dampier Archipelago, none of which, until the latest reports to the federal minister, have addressed the industrial conflicts in one of human kind’s earliest and most significant heritage sites. Even with today’s knowledge of the international importance of the area, the State government continues to invest in industrial infrastructure on the Burrup, stating that they are on track to turn the Burrup into the main industrial hub for the Asia Pacific region.
Lieutenant General John Sanderson, who was the State government’s Indigenous Affairs Special Adviser stated in answer to questions about protecting the rock art, “Absolutely. I mean this is an amazing collection of art. We are talking about tens of thousands of pieces of art, 20,000 years old carved in granite. Most Australians would watch the television shows and think that it was a few primitive scratchings on rock. We are talking about an ice age culture, we are talking about Aboriginal temples in the rock.”
The current industrial footprint is 16 sq km out of the 117 sq km of the Burrup, though current leases cover a much larger area. In the footprint area at least 10,000 petroglyphs have already been destroyed. State land use planning has defined that an area of only 49.3 sq km (44%) is to be protected from industry. This protected area is to be opened up, have a road driven through it and turned into a tourism and recreation area.
Friends of Australian Rock Art, Inc. or FARA, first came together in November 2005 as the Friends of Pilbara Rock Art, convened by the National Trust WA.
In 2006 FARA was established as an incorporated organisation by Hon Robin Chapple and friends with the aim of preserving Australia’s rock art, particularly the ancient petroglyphs on the Burrup Peninsula. These are threatened with destruction by surrounding industrial emissions which turn into acid rain, etching away the patina on the rock surfaces and so eroding their engraved images.
To start with Remi Vignals, one of FARA’s founder members, organised a very successful world-wide awareness campaign for the rock art, called Stand Up for the Burrup. Actions were staged at many World Heritage sites and listed monuments, which were then compared to the overwhelming significance of the petroglyphs on the Burrup, which meet all nine of the criteria required for identification and official recognition by UNESCO as a World Heritage Site. (See the section on World Heritage under….?)
However, since 2010 FARA has chosen to engage directly with industry and government, endeavouring to change the legislation which allows uncontrolled expansion of industry and its destructive chemical emissions on the Burrup peninsula.
We have also engaged in research which proves irrefutably that the rock art is being increasingly destroyed by these emissions.
To join FARA, please click on this link.
Applications must be received by FARA seven days prior to an AGM (generally held in March).
All of FARA’s activities are undertaken by volunteers who are passionate about the protection, preservation and promotion of rock art, particularly that of the Dampier Archipelago.
There have been some real successes along the way, with many more people now aware of how precious the rock art of the Dampier Archipelago is.
Friends of Australian Rock Art, Inc. (FARA) works to protect, preserve and promote Australian rock art in general, and in particular the petroglyphs found in the Dampier Archipelago (including Murujuga/Burrup Peninsula) in the Pilbara region of Western Australia.
To allow future generations to marvel at the beauty of Australia’s rich rock art cultural heritage.
Friends of Australian Rock Art’s mission is to protect, preserve and promote the rock art of this very ancient human landscape, forged by numerous generations of Aboriginal people who have continuously lived in the area for millennia.
Protect – we engage with State and Federal government and industry to ensure no further industrial development takes place on the Burrup Peninsula, but rather in more suitable locations. We liaise with those companies which are already established, to look at ways to minimise the impact of their activities (such as direct and indirect emissions, controlled explosions, and land clearance).
Preserve – FARA works in conjunction with local Traditional Owners to ensure that it promotes local knowledge in a culturally appropriate manner.
We also build alliances with Universities and research institutes to further investigate the impacts of large-scale human activities on the rock art and identify possible solutions.
Promote – we run an educational tour once a year, to allow people from all over Australia and beyond to visit and marvel at the beauty and complexity of this landscape. We seek to educate the broader community about the history of Australia prior to European settlement.
This is a long list, but FARA is proud of its long achievements and continuing fight for this unique cultural asset.
Goals for the protection of the rock art of the Dampier Archipelago (including Murujuga/Burrup Peninsula):
In the last month, the Aboriginal Heritage Action Alliance (AHAA) and the WA Alliance of Native Title Representative Bodies and Service Providers have both called for a halt to the promulgation of the Aboriginal Cultural Heritage Bill first introduced in September 2020.
We are always looking for committed people to give their time and skills to the work of FARA – even if you can only spare a few hours.
To nomiate for the Committee, download and complete the FARA Nomination Form. It must be received by FARA seven days prior to an AGM (generally held in March).
FARA’s dedicated volunteer committee is elected annually at the Annual General Meeting.
We are always looking for committed people to give their time and skills to the work of FARA – even if you can only spare a few hours.
To nomiate for the Committee, please visit this link to apply securely online for FARA Membership.
Applications must be received by FARA seven days prior to an AGM (generally held in March).
Contact FARA via post c/- CCWA, Lotteries House, 2 Delhi St, West Perth WA 6005
FARA holds committee meetings on the first Tuesday of each month (except for January) from 6-8pm, with a light supper. These meetings discuss the various campaigns, submissions, research and news relating to the petroglyphs. If you would like to attend, ring Sue on 0439 641 227 to ascertain the venue for the next meeting.
Join FARA nowCommittee meetings:
First Tuesday of every month at 6pm.
All meetings to be held at Lotteries House, 2 Delhi St, West Perth WA 6005, unless stated otherwise.
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A growing market estimated to generate $10 billion in exports for Australia by 2040 as the world moves to meet carbon emission targets.
Proven demand from major markets across the globe — Japan, China, South Korea, Italy, France, Germany, United Kingdom and South Korea.
CSIRO estimates Japan, South Korea, Singapore and China will require 3.8 million tonnes of hydrogen by 2030 — Australia is expected to fill a substantial amount of this. Japan alone is estimated to import 10 mega tonnes a year by 2050.
Perdaman plans to REMOVE four sacred rock art sites to make way for a fertiliser plant development.
It runs deeper than just verbal and online abuse. The simplistic slogan partly reflects the widespread ignorance of what racism is, how it functions and the ways in which it appears. Slogans are meaningless if the league continues to partner with entities which are detrimental to Indigenous Australians.