the other APT is a multi-artform exhibition that coincided with the 5^th Asia Pacific Triennial, with a similar focus – of art within the Asia-Pacific region. However, in the interest of protocol, best practice and inclusiveness, artworks were sought more locally to highlight the fact that Coastal areas have an interesting hybrid mix of artists, right here, right now, and also in dialogue with the first people of Australia.

The primary curatorial premise of the other APT was to show works from Indigenous Australian Artists, and also show meaningful works from other Artists that may constitute them as a friend in culture and good visitor to this country, in meaningful dialogue and otherwise. In other words, Aboriginals actively engaging with other Aboriginals, and those from other cultural backgrounds - Torres Strait Islander, Melanesian, Samoan, Maori, Japanese, Filipino and others from outside the Asia-Pacific Rim (even Australians!), providing a true survey, commenting on individual and shared experience. Naturally some of these works are collaborations - existing works, and also works produced especially for the other APT, but all really important discourse, culturally and historically.

Boy and Moth is a contemporary Aboriginal Myth that was produced under the keen eye of Brisbane-based film-maker Christine Peacock, written by Kombumerri man John Graham and realized through 3D Animation by Yidinji Artist Rebekah Pitt. Like all great myths there is a moral to the story… “Everyone were like great nets catching good thoughts, not so good thoughts and all the crazy in between. And every now and again some of this gets thrown back for the well being of others.” A true gem philosophically and technically, made in Brisbane.

The Heart of the Journey is a screen-based work by Sydney-based Japanese Artist Mayu Kanamori and Bardi woman Lucy Dann. Mayu and Lucy met because Mayu has an interest in photographically documenting the hybrid mix of Japanese and Aboriginal relations and her “radar” led her to Lucy in Broome, Western Australia. Late in her life, Lucy found that her real father was a Japanese Pearl Diver and wanted to visit him in a small fishing village in Japan. Mayu acted as Lucys translator and confidante, and documented the journey and the interaction of the new found family members, through still image and audio recording. It is quite well known that Japanese people are generally supportive and respectful of Aboriginal culture and this is a heartwarming example of true interest, compassion and egalitarian friendship.

Other glances overseas are taken through the works of Tim Lehā and myself. Tim is a Kamilaroi/Tongan filmmaker, based in Sydney and his doco, Sutikahl features an occupation by St’at’imc Aboriginal Canadians in a mountain range north of Vancouver, who are standing up to protect lands from development. The work is especially inspirational for the possibilities of Sovereignty here in Australia and beyond, and also provides the basis of an interesting inter-cultural dialogue. My own work, Native All Stars is a series of portraits that Arts workers have traded for a limited edition T-shirt and transformed into collectors cards from 2003 onwards. The most recent portrait sittings photographed at the 2006 Dreaming Festival feature Cree Musician Jason Burnstick from Vancouver, Gumbayngirr Singer Emma Donovan from Nambucca Heads and Kwaio Artist Jackson Waneagea from the Solomon Islands, among others. A cozy global art village is heartfelt.

Keepin’ it real in remote Aboriginal Communities are Darwin-based Christine Christophersen collaborating with French film-maker Delphine Dupont-Morris, and also Artist Charles Street who lives and works in Aurukun. Iwatja Artist Christine had the yearning to produce a work of an age-old story about Warramarramunji, a strong ancestral figure who created the landscape around Kakadu and is the mother of all human beings. Blue Print was made with a sensitivity that comes from Delphines longstanding health-working within remote Aboriginal communities in the Northern Territory and her respect of inter-cultural relations, also for the benefit of her own family – her Maori partner and kids. Similarly Charles Street, who is of Papuan background, has lived in Far North Queensland for his whole life, currently working for the Wik & Kugu Arts Centre and maintaining his own art practice in Cape York. His print series I have not just shot the fox... is a subtle reflection of his own bi-culturalism, and living context.

The more urban confines of Darwin and Brisbane are reflected in the work of Gary Lee and Jo-Anne Driessens. Garys work Shaba # 3, from his Nimgololo series of portraits represents contemporary Indigenous Male Identity, and shows his nephew holding a woomera, which references colonial Larrakia portraiture and also highlights ‘the look’ or everyman-ness of Aboriginality today. Murri photographer Jo-Anne Driessens has worked tirelessly over the years in social documentary - in and around Brisbane. Her work Corroborree 2000, the Peoples Walk for Reconciliation shows the continued Aboriginal presence and support in an urban jungle.

Dance group polytoxic collaborated with Samoan visual artist Chantal Fraser to produce Framed, a “live” installation that questions notions of “High Art” from a Polynesian perspective. Polytoxic have worked collaboratively for years - between 2 Samoan Dancers, Lisa Fa’alafi, Efeso Fa’anana and Australian Dancer Leah Shelton. Due to the confines of gallery space, they were all asked to collaborate and share a 6m window box, but previous to the other APT they already had a working relationship, recently through a community cultural development project.

Australian Artist Robb Kelly & Maori Deviser Joseph Slade produced Type Test, a vinyl wall work which takes a look at the importance put on the purity of blood and race. This is their first official art collaboration together asking us the big questions “Is the ancestry negated once the lineage is infected? Or, do cultural combinations have exciting possibilities to enhance future generations? Is it a blemish or a beauty mark?”

The other APT is an Artists Run Initiative. Arts Queensland had funding from the Australia Councils Visual Arts and Crafts Strategy, which the Blackout Collective secured and then worked in partnership with Raw Space Galleries in Brisbane. All artists with a social conscience are encouraged to help facilitate their own group exhibitions – step out of the ego and try to make a difference collectively. Curating is a great conceptualizing process and as artists we have ideas for exhibitions all the time – to actually make them happen ourselves is a beautiful thing.

Jenny Fraser

Artist / Curator

http://www.geocities.com/dot_ayu/index.htm

- this essay was commissioned for a flying arts publication