Kullilla-Art: Mending the Future Through the Wisdom of the Past

Michael Connolly, Founder, Dreamtime Kullilla-Art, Kullilla, Australia

Today's fast-paced, digitally driven societies seem far removed from the traditions of the world's Aboriginal peoples. Yet, as a pandemic sharpens the focus on what it means to be human, the timeless wisdom conveyed through the stories and art of those cultures, with their characteristic reverence and lived respect for the natural world, has perhaps never been more pertinent.

Michael Connolly or Munda-gutta Kulliwari, which means you know me before you see me, founded Dreamtime Kullilla-Art in the early 1990s to illuminate the rich cultural history of Australia's Central Desert people. The path to economic prosperity was not an easy one for an artist who spent much of his early life in the Australian bush. His hard work, however, coupled with a growing interest in Aboriginal art, helped propel Connolly's craft and business onto the global stage.

Now, after 25 years of business, stories of the Central Desert people, the Kullillis, are known throughout Australia and beyond. Like life, the situations he illustrates change, but his message – the profound interconnectedness between nature and the human spirit – always remains the same.

We sat down with Michael Connolly to discuss the significance of Aboriginal art and culture in today’s society and how its message might influence the next generation to write a better chapter in our collective story.

When did global interest in Aboriginal art begin to grow?

Central Desert People's art has been growing in popularity since the 1960s. One of the main reasons for this rise in popularity was the artists’ connection to the land, which is the foundation of the art. The stories move from the dirt, through the artist and straight on to the canvas. This connection resonates with people.

Unfortunately, as the decades passed and its popularity grew, Aboriginal artwork was often copied for financial profit. Consequently, it has become a multimillion-dollar business, of which only a small percentage goes back to the Aboriginal people.

What needs to happen for this to change?

The root of the problem lies in the fact that people aren't necessarily interested in authenticity, and many of those who are quickly lose that interest if it comes with a price tag. Multinationals can produce boomerang facsimiles in Indonesia for five cents and then sell them here to tourists at such a low price that Aboriginal artisans can't afford to compete, especially not when the cost of living here is so high. We need the government to support us in our fight against these multinationals with legislation that protects our cultural heritage. So far, the government has acknowledged the problem, but hasn't done its part in fixing it.

A boomerang made in Indonesia and a boomerang made here by Aboriginal people are fundamentally different; the Indonesian copy lacks any meaning. That the foundation of the artwork – telling stories of the land – has been lost through its commercialisation is the most heartbreaking thing of all.

Kullilla-Art: Mending the Future through the Wisdom of the Past

Emu and Snake, artwork courtesy of Kullilla-Art

It's the tales of the human, not only the Aboriginal People because we've given away that life where we looked after country, country looked after us. If we don't look after country, it won't look after us. So we gotta regenerate that story.

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How is the message of respecting nature and practising sustainability particularly relevant now as we struggle to come to terms with the ongoing COVID-19 crisis?

I believe we are witnessing first-hand what happens when nature isn't respected. The cycle of life was established long before humans, but we disrupted it and altered or destroyed elements that keep the planet healthy. Mother Nature has given us everything, but we've taken too much; now, she’s had enough. As a result, the animals are sick, and they’re spreading sickness to us. So, yes, a message of respect for nature, community and especially regrowth is extremely relevant at this unprecedented time. We need to give back to the earth – and, more importantly, to let it grow back.

Take the Amazon rainforest as an example. The Amazon rainforest is the largest garden in the world. It's so significant in size that it makes the sky open up. It's so rich in biodiversity that it hosts at least 10 per cent of the world's species. The greatest medicine in the world exists in the Amazon, and it's this medicine, not any other that will heal our planet.

We are connected by our stories and our journeys across the land – and, even if there is a great physical distance between us, our shared dreams and experiences bind and direct us.

We share the Earth, we communicate through the spirits, and the stars are our GPS.

Mending the Future Through the Wisdom of the Past

Fish Wilga Waterhole, artwork courtesy of Kullilla-Art

Emu and Kangaroo, artwork courtesy of Kullilla-Art

How do digitisation, technology and the interconnectivity of everything affect your traditional approach to communication and art?

Aboriginals have had their own version of interconnectivity for a very long time. We share the earth, we communicate through the spirits, and the stars are our GPS. We are connected by our stories and our journeys across the land – and, even if there is a great physical distance between us, our shared dreams and experiences bind and direct us. Today's technology may change the way people access knowledge and communicate, but it doesn't radically alter what our people have already known about where we live and who we are.

How do you motivate the next generation of artists when they do not see the results of their efforts materialised financially?

Unfortunately, in general, the younger ones do not have the same interest or passion in the land as the older generations. Not being able to capitalise financially on our traditions plays a big part in that. I want to teach my grandchildren about our culture, as many do, but social platforms and mobile phones have created a barrier that is hard to circumvent. The Government has done little to help us preserve our culture; consequently, many of us have abandoned our land for other industries.

What role will the next generation play in repairing the environment and addressing the economic disparity that you bring to light through your art?

I think the next generation has a great deal of potential, but there are many challenges to overcome. Young people today are growing up in a highly politicised world, where even protecting the environment is considered a political stance. However, the new realities brought about by coronavirus have delivered a very clear message about the importance of respecting nature and supporting the community.

The next generation needs to understand and act on that message, despite the political static and modern-day distractions. They must find fixing and maintaining their land more rewarding than supporting a world of economic disparity overseen by billionaires. For the world to heal and grow again, living in harmony must trump living in wealth. I believe the next generation is more than capable of seeing that.

You know, the young ones seem that they don’t have that passion like I have. So, I want to teach my children, I want to teach my grandchildren, but we’re falling away every year.

It's never too late to learn from the past. The world wasn’t always run like a machine – there was a time when the sun and the seasons guided our actions.

What are your future plans for Kullilla-Art?

I completed a large mural at a school last week that told the story of how children are learning to use virtual reality. We intend to set up something similar, where people can virtually visit me in my shop to learn about the artwork, its meaning and the stories behind it. This will also give me the opportunity to share the significance of purchasing from Kullilla-Art and how it supports a fully operational Aboriginal business in Australia.

Additionally, we are going to organise talks for children and others that not only showcase Kullilla-Art but also educate about our culture. In a very modern way, we will be tapping into the tradition of telling stories to each other around a fire or a fishing hole, or while preparing a meal. The method may be modern, but the stories and the way they’re communicated are traditional – and extraordinarily important.

It's never too late to learn from the past. The world wasn’t always run like a machine – there was a time when the sun and the seasons guided our actions. In many ways, that message is what Aboriginal stories convey. That message of harmony is exactly what the world needs to hear right now.