HTML tags intact. On the Great Northern Highway near Warmun, a tiny Indigenous community in Western Australia’s Kimberley region, a collection of deteriorating car wrecks emerges unexpectedly. Some of these wrecks are engulfed in a tangle of weeds, while others have melted into the earth. This visually captivating sight holds deep significance for Gija woman Madeline Purdie, reminding her of her childhood. She recalls a time when there were only three cars in their entire community. Each day, they would venture out into the bush, squeezing onto the tray of these vehicles, determined to leave no one behind.
Purdie, the chairperson of the Warmun Arts Centre and an artist herself, explains that when a car breaks down in this remote area, help is not readily available. Therefore, the cars remain where they were abandoned, becoming a part of the land. Purdie’s family had a 1975 Mazda ute that suffered a similar fate. It broke down and eventually succumbed to fire. Nevertheless, this car, which once traveled the Kimberley on fishing and camping expeditions, is now embarking on its grandest adventure yet. It has been transformed into a sound sculpture for Tura New Music’s ambitious project, The Journey Down, under the skilled hands of artist Jon Rose. Two bonnets have been welded to the Mazda’s roof, reminiscent of the sails of the Sydney Opera House.
As dusk descends, over 400 people gather on the grass at Kununurra Picture Gardens on Miriwoong Country to witness the premiere of The Journey Down. Families reunite, children frolic, and dogs run free while a group campaigns for the voice to parliament. All these individuals have come together to experience the magic of the Warnarral Ngoorrngoorrool, the old car. This 1975 Mazda ute has been reborn as a musical instrument adorned with Gija artwork. Through film, animation, and the melodies it produces, The Journey Down transports audiences into the vibrant tapestry of Aboriginal culture in the Kimberley, delving into tales of journeys, displacement, and the mythologies of the Australian outback.
The spectacle has only just begun its itinerant journey south. Over the course of a month, it will traverse 3,456km and stop at 12 locations, ultimately reaching its final destination, the WA Museum Boola Bardip in Perth. Throughout this intercultural collaboration, Gija, Miriwoong, and Yamatji artists join forces with non-Indigenous performers to create a truly unique experience.
The opening night commences with a powerful display of Miriwoong dancers, engaging in the traditional Wanga dance, brought to life by the rhythm of clapsticks and didgeridoos. The audience is captivated by this wild and pulsating performance. As Chris Griffiths, a Miriwoong cultural adviser and lead dancer, describes it, “We call it rock’n’roll. The music resonates through your entire being. This is the first time we are sharing it beyond the Kimberley, taking it all the way from Port Hedland to Perth.”
Gradually, the spotlight shifts to the old car, illuminated by dappled light. Musicians Vanessa Tomlinson, Aviva Endean, and Tristan Parr begin to play, using cello bows and mallets to produce an ethereal symphony of rhythms, rattles, and sonic vibrations. Tos Mahoney, the artist director of Tura New Music and the creative producer of The Journey Down, describes it as an incredible and bassy sound, contrasting the pure notes of a violin. The car itself has been skillfully remodeled by musician Jon Rose, who attached two bonnets to the roof, paying homage to the iconic sails of the Sydney Opera House. Inside the car, tin cans and four fence wires come together to create a resonant wall of sound.
In addition to the car itself, the musicians create a captivating score for the entire performance. They use a range of rustic instruments, from corrugated iron to plastic tubes and tin cans, perfectly complementing the cello and clarinet. Mark Atkins, a renowned didgeridoo player of Yamatji descent, delivers a haunting solo, leaving a profound impact on the audience.
This production is multi-layered and defies simple categorization. The car not only serves as an instrument but also acts as a canvas for Gija stories. The rusted frame of the car features commissioned artwork by Gija painters, including Madeline Purdie’s mother, Shirley Purdie. The paintings are accompanied by video interviews and animations by Sohan Hayes, projected onto a corrugated iron screen. These mediums reveal the richness of Gija culture, capturing the essence of journey, displacement, and the significance of the boab tree.
Among the attendees at the premiere is Madeline Purdie, who is deeply moved by the sight of the car illuminated with sound and stories. She sheds tears of joy, reflecting on the old people who have passed away. Following the premiere, The Journey Down makes its way back to Warmun, only 200km away, to perform for the Gija community. Four generations of Purdie’s family are present, with her granddaughter even participating in the performance with the local primary school. This evening begins with the Goorirr-goorirr, a Gija dance and storytelling form that came to artist Rover Thomas in a dream. Jane, Thomas’s granddaughter, painted a series of storyboards held above the dancers’ shoulders. Like the Warnarral Ngoorrngoorrool, this performance serves as a poignant symbol of Gija culture and its commitment to preserving stories through artistic expression.
As Chris Griffiths articulates, showcasing their culture, dance, stories, and history serves as a reminder of their obligations and challenges faced as Indigenous people. It’s not just about showcasing their art to others but also an opportunity for Indigenous communities to reconnect with their heritage. With some stories being somber, others joyful, and still others aimed at lifting Indigenous people from the struggles they have endured, this production highlights the uniqueness and authenticity of Indigenous cultures. The stories they tell are real, reflecting their own ways and their own experiences.
The Journey Down will continue its month-long journey from Kununurra to Perth in September, before finding its permanent home at the WA Museum Boola Bardip.
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