My first papers were made from their traditional fiber sources: sisal, sand palm, banyan, coastal hibiscus, and sedge. These plants are used to make dilly bags and baskets and prepared in different ways. Sisal (Agave sisalana) is an introduced species planted near Belyuen by colonial market gardeners in the late 1800s. We harvested from a clump of up to ten plants hidden in the bush which generations of women conserved through selective harvesting. We took a few leaves from each plant at the end of the wet season. Sand Palm (Livistona humilus) is an iconic plant of the Top End of northern Australia and utilized by many different communities. The new frond is pulled off and split into separate leaflets and then the top and bottom layer are gently peeled apart. Pandanus (Pandanus spiralis) is prepared in the same way for making baskets. The fibers are then dyed with root, bark, or berry dyes in oranges, yellows, purples, and pinks. More colors are being developed as women across the Top End experiment and share their discoveries. Indigenous knowledge is "\[a\] cumulative body of knowledge, know-how, practices and representations maintained and developed by peoples with extended histories of interaction with the natural environment. These sophisticated sets of understandings, interpretations, and means are part and parcel of a cultural complex that encompasses language, naming and classification systems, resource use practices, ritual, spirituality and worldview."1 The maintenance and protection of Indigenous knowledge is crucial to the maintenance of Indigenous culture. Unfortunately in many parts of Australia traditional Aboriginal knowledge has been lost. The loss of this knowledge has extremely serious social, biological, loss of this knowledge has extremely serious social, biological, cultural, and heritage outcomes for all people, but especially for cultural, and heritage outcomes for all people, but especially for future generations of the traditional custodians. In the words of future generations of the traditional custodians. In the words of an African proverb, "When an elder dies a library is burned." an African proverb, "When an elder dies a library is burned." Aboriginal people relied almost totally upon plants for their Aboriginal people relied almost totally upon plants for their material needs and for mortuary, abundance, and initiation ceremonial material needs and for mortuary, abundance, and initiation ceremonial objects, as well as for domestic objects such as nets, tools, objects, as well as for domestic objects such as nets, tools, and ropes. In many respects peoples' relationship to their land and ropes. In many respects peoples' relationship to their land is embodied in their attitude to plants. In some cultures, plants is embodied in their attitude to plants. In some cultures, plants are viewed as being an integral part of their physical, social, and are viewed as being an integral part of their physical, social, and spiritual worlds. Plants are also used as a kind of calendar, linking spiritual worlds. Plants are also used as a kind of calendar, linking fruiting and flowering with hunting seasons and events. For fruiting and flowering with hunting seasons and events. For example, when the stringy bark flowers in the community of example, when the stringy bark flowers in the community of Garrthalala, the sea turtles are laying their eggs. Garrthalala, the sea turtles are laying their eggs. Over the millennia Indigenous peoples have developed a close Over the millennia Indigenous peoples have developed a close and unique relationship with the lands and environments in and unique relationship with the lands and environments in which they live. They have established distinct systems of knowledge, which they live. They have established distinct systems of knowledge, innovation, and practices relating to the uses and management innovation, and practices relating to the uses and management of the biodiversity on these lands. Collecting material for of the biodiversity on these lands. Collecting material for fiber-based production is often linked to ancestral activity, specific fiber-based production is often linked to ancestral activity, specific places, and past events. Women's knowledge about plants is extensive places, and past events. Women's knowledge about plants is extensive not only in terms of propagation, habitats, and fiber content, not only in terms of propagation, habitats, and fiber content, but also ceremonial links between ancestors, country, moieties, but also ceremonial links between ancestors, country, moieties, and the objects made from the plants. and the objects made from the plants. Minnie Marabachiba, an Aboriginal fiber craftsperson in the Top Minnie Marabachiba, an Aboriginal fiber craftsperson in the Top End, refers to the intent of the artwork/object as a statement of identity End, refers to the intent of the artwork/object as a statement of identity and culture, "I know balanda (white people) will take it and I'll and culture, "I know balanda (white people) will take it and I'll be sorry and think about it. When I make weaving it reminds me of be sorry and think about it. When I make weaving it reminds me of my grandfather, great-grandmother, my mother and father and the my grandfather, great-grandmother, my mother and father and the old people. I remember, I will keep doing it until I pass away. I know old people. I remember, I will keep doing it until I pass away. I know this is true because of my ancestors the Wanggar Creator Beings."2 this is true because of my ancestors the Wanggar Creator Beings."2 In Aboriginal culture the strength of the interrelationship In Aboriginal culture the strength of the interrelationship between people and their environment is shown through between people and their environment is shown through language. Words for parts of the body are metaphors for landforms language. Words for parts of the body are metaphors for landforms and plants often related to ancestral creation. For example at and plants often related to ancestral creation. For example at Gapuwiyak in the Djambarrpuyngu language, wana refers to the Gapuwiyak in the Djambarrpuyngu language, wana refers to the arm, a tree branch, or a creek, and the eye is mel, a seed or a soak.3 arm, a tree branch, or a creek, and the eye is mel, a seed or a soak.3 Plants also link to kin relationships; children know early on which Plants also link to kin relationships; children know early on which plants are their mothers and sisters. plants are their mothers and sisters. Indigenous people protect and nurture. The women of Belyuen Indigenous people protect and nurture. The women of Belyuen practiced a selective harvest of plants by visiting different sites practiced a selective harvest of plants by visiting different sites each year to allow for regrowth. "We care for the country all year," each year to allow for regrowth. "We care for the country all year," explained Aboriginal weaver Lak Lak Burarrwanga. "The seasons explained Aboriginal weaver Lak Lak Burarrwanga. "The seasons tell us how to care for country—to care for the songs, dance, nature tell us how to care for country—to care for the songs, dance, nature and people.... [E]verything's connected through the person and people.... \[E\]verything's connected through the person to the trees, so when we feel hot the fruits are ready."4 In Indigenous to the trees, so when we feel hot the fruits are ready."4 In Indigenous cultures, it is accepted that women are the prime holders cultures, it is accepted that women are the prime holders of knowledge required for the selection, preservation, and use of of knowledge required for the selection, preservation, and use of plants. This knowledge is passed down orally. plants. This knowledge is passed down orally. In Western science, plant taxonomists find, describe, classify, In Western science, plant taxonomists find, describe, classify, identify, and name plants. Western science is based on positivism, identify, and name plants. Western science is based on positivism, not theism; logic, not a belief in ancestor creator beings. It puts not theism; logic, not a belief in ancestor creator beings. It puts humans apart from and above the natural world. In an Indigenous humans apart from and above the natural world. In an Indigenous universe, everything—including inanimate objects and material universe, everything—including inanimate objects and material cultural items—are classified into social groups, given a gender cultural items—are classified into social groups, given a gender according to certain physical attributes (at Maningrida there are according to certain physical attributes (at Maningrida there are four: male, female, food, and earth, water, and fire) and credited four: male, female, food, and earth, water, and fire) and credited to the actions of certain ancestral beings. Western taxonomists to the actions of certain ancestral beings. Western taxonomists categorize plants according to the eighteenth-century Linnaean categorize plants according to the eighteenth-century Linnaean system of genus and species based on their reproductive structures system of genus and species based on their reproductive structures that reflects scientific ideas about plant inter-relationships. On the that reflects scientific ideas about plant inter-relationships. On the other hand, Yolgnu classification is varied and at Gapuwiyak, for other hand, Yolgnu classification is varied and at Gapuwiyak, for example, classification can be based on physical structure: dharpa example, classification can be based on physical structure: dharpa are woody trees and shrubs; mulmu are the grasses; and ngatha are woody trees and shrubs; mulmu are the grasses; and ngatha are mainly tubers. Classification by habitat recognizes six different are mainly tubers. Classification by habitat recognizes six different environments: Gulunbuy (from the waterholes), Larrtha'puy (from environments: Gulunbuy (from the waterholes), Larrtha'puy (from the mangroves), Rangipuy (from the beaches), Dilitjpuy (from the the mangroves), Rangipuy (from the beaches), Dilitjpuy (from the forests), Retapuy (from the jungle), and Ninydjya (from the plains). forests), Retapuy (from the jungle), and Ninydjya (from the plains). There is often a single name to describe a genus. Most fiber and There is often a single name to describe a genus. Most fiber and dye plants come from open forests and the waterholes.5 Indigenous dye plants come from open forests and the waterholes.5 Indigenous plant taxonomy embraces the spiritual domain as well as the plant taxonomy embraces the spiritual domain as well as the natural. "He pulls all the string out of the bag," says Aboriginal natural. "He pulls all the string out of the bag," says Aboriginal artist Charlie Gunbuna, sharing a story in which he combines the artist Charlie Gunbuna, sharing a story in which he combines the cosmos with an important fiber plant Pandanus spirilis, bush string, cosmos with an important fiber plant Pandanus spirilis, bush string, and a dilly bag. "He throws the morning star and the star climbs and a dilly bag. "He throws the morning star and the star climbs up the pandanus and goes out into the dark sky and does not come back because all of the string has gone out of the dilly bag. The up the pandanus and goes out into the dark sky and does not come back because all of the string has gone out of the dilly bag. The morning star on the end of its string lies coiled up in the dilly morning star on the end of its string lies coiled up in the dilly bag of one old man spirit. This dilly bag is called Balthi. It is the bag of one old man spirit. This dilly bag is called Balthi. It is the mother of the morning star."6 In this story, Gunbuna illustrates the mother of the morning star."6 In this story, Gunbuna illustrates the complex relationships between plants and the objects made from complex relationships between plants and the objects made from them to the real and spiritual world. them to the real and spiritual world. As papermakers we experiment with and use a broad range of As papermakers we experiment with and use a broad range of plant fibers. By increasing the recognition of the role and the importance plant fibers. By increasing the recognition of the role and the importance of traditional knowledge we can change mindsets about of traditional knowledge we can change mindsets about the existence of concurrent knowledge systems. I participated in the existence of concurrent knowledge systems. I participated in an ambitious project called Replant—A New Generation of Botanic an ambitious project called Replant—A New Generation of Botanic Art. It was initiated by Nomad Art Gallery in Darwin in 2006 and Art. It was initiated by Nomad Art Gallery in Darwin in 2006 and aimed to increase understanding about the diversity and complexity aimed to increase understanding about the diversity and complexity of cultures, heritage, and concurrent knowledge systems. It was of cultures, heritage, and concurrent knowledge systems. It was an excursion into the world of plants in the tropical north of Australia an excursion into the world of plants in the tropical north of Australia seen through the eyes of six Indigenous and non-Indigenous seen through the eyes of six Indigenous and non-Indigenous Australian artists, a photographer, a master printmaker, and an Australian artists, a photographer, a master printmaker, and an ethnobotanist. We worked with the Northern Territory Herbarium ethnobotanist. We worked with the Northern Territory Herbarium and traditional knowledge custodians from the Daly River region and traditional knowledge custodians from the Daly River region to produce a folio of etchings for a touring exhibition. The ethnobotanist to produce a folio of etchings for a touring exhibition. The ethnobotanist was Darwin-based ethnobotanist Glen Wightman. I was was Darwin-based ethnobotanist Glen Wightman. I was delighted to meet him after years of referring to his Aboriginal delighted to meet him after years of referring to his Aboriginal plant usage booklets in my research and teaching. Wightman has plant usage booklets in my research and teaching. Wightman has spent the last 27 years working with senior Aboriginal knowledge spent the last 27 years working with senior Aboriginal knowledge custodians, associated with 44 Aboriginal languages in northern custodians, associated with 44 Aboriginal languages in northern Australia. He has coordinated the publication of 24 books detailing Australia. He has coordinated the publication of 24 books detailing the knowledge of plant usage in each community. "It is important the knowledge of plant usage in each community. "It is important that we continue to record, preserve and promote traditional plant that we continue to record, preserve and promote traditional plant and animal knowledge before it gets lost as elders pass away," explains and animal knowledge before it gets lost as elders pass away," explains Wightman, "[to] help resolve the issue of the passing on of Wightman, "\[to\] help resolve the issue of the passing on of this plant and animal knowledge from elders to their children.7 this plant and animal knowledge from elders to their children.7 Glen Wightman is my plant hero! He is a humble holder of vast Glen Wightman is my plant hero! He is a humble holder of vast botanical knowledge, an advocate for the recognition and recording botanical knowledge, an advocate for the recognition and recording of Indigenous plant knowledge, and a friend to a great many of Indigenous plant knowledge, and a friend to a great many Aboriginal people across the Northern Territory. His aim is "to link Aboriginal people across the Northern Territory. His aim is "to link white-fella science with traditional knowledge." He also makes the white-fella science with traditional knowledge." He also makes the perfect cup of tea: drunk from a thermos in the middle of the bush. perfect cup of tea: drunk from a thermos in the middle of the bush. During the project, knowledge custodians of the Nauiyu community During the project, knowledge custodians of the Nauiyu community accompanied our group into the bush to look at plants. accompanied our group into the bush to look at plants. Mysteries of the local plants were unveiled as we all shared our Mysteries of the local plants were unveiled as we all shared our own cultural stories, plant uses, and scientific knowledge. The own cultural stories, plant uses, and scientific knowledge. The women at Daly River traditionally used the inner bark of the banyan women at Daly River traditionally used the inner bark of the banyan tree (Ficus virens) for rope. They showed me how to prepare tree (Ficus virens) for rope. They showed me how to prepare the long underground roots for fiber rather than the tough aerial the long underground roots for fiber rather than the tough aerial roots. The outer bark is scraped off first and then the long root is roots. The outer bark is scraped off first and then the long root is hammered to loosen the inner bark. On contact with the air the hammered to loosen the inner bark. On contact with the air the inner bark turns a pink color. The fiber is shredded into strips, the inner bark turns a pink color. The fiber is shredded into strips, the width of which depends on its final use. For string it is spun and width of which depends on its final use. For string it is spun and plied (rolled) on the thigh in one movement. I used the banyan plied (rolled) on the thigh in one movement. I used the banyan fiber to make paper for chine-collé in some of my prints. fiber to make paper for chine-collé in some of my prints. As part of the My Print My Paper project in 2009, I conducted As part of the My Print My Paper project in 2009, I conducted a series of papermaking workshops in different Aboriginal communities a series of papermaking workshops in different Aboriginal communities across the Barkly under the auspices of Barkly Regional across the Barkly under the auspices of Barkly Regional Arts, an organization based in Tennant Creek and services a vast, Arts, an organization based in Tennant Creek and services a vast, remote 283,648-square-kilometer region between Darwin and Alice remote 283,648-square-kilometer region between Darwin and Alice Springs. To prepare for this project I was sent a box of spinifex Springs. To prepare for this project I was sent a box of spinifex to test. Spinifex, called alatyeyt by the Alyawarre people of the to test. Spinifex, called alatyeyt by the Alyawarre people of the Barkly, is avoided by explorers, cursed by surveyors, and collected Barkly, is avoided by explorers, cursed by surveyors, and collected with thick gloves by papermakers! with thick gloves by papermakers! Spinifex is the tough, spiky, evergreen grass that grows in the Spinifex is the tough, spiky, evergreen grass that grows in the arid and semi-arid areas that cover 27 percent of Australia. There arid and semi-arid areas that cover 27 percent of Australia. There are two species, hard and a soft. The soft species Triodia pungens, are two species, hard and a soft. The soft species Triodia pungens, traditionally a source of adhesive resin, is the most common in traditionally a source of adhesive resin, is the most common in the Barkly region. Indigenous knowledge about spinifex as a fiber the Barkly region. Indigenous knowledge about spinifex as a fiber source has greatly declined since European colonization. Most source has greatly declined since European colonization. Most information comes from museum collections. There is a spinifex information comes from museum collections. There is a spinifex dilly bag in the British Museum. The explorers Gregory and dilly bag in the British Museum. The explorers Gregory and Gregory documented the use of spinifex for making nets for fishing Gregory documented the use of spinifex for making nets for fishing and dilly bags in Northern Western Australia around 1856. In and dilly bags in Northern Western Australia around 1856. In a recent study, it is noted that spinifex was "pounded between two a recent study, it is noted that spinifex was "pounded between two stones until fibrous, like cotton wool, and then spun into string."8 stones until fibrous, like cotton wool, and then spun into string."8 A newspaper article of 1884 declared that "though short, spinifex fibers were stronger and better than those of Indian jute and were A newspaper article of 1884 declared that "though short, spinifex fibers were stronger and better than those of Indian jute and were sufficiently long to be made into rope."9 The Northern Territory sufficiently long to be made into rope."9 The Northern Territory Times reported that paper was being made from spinifex in South Times reported that paper was being made from spinifex in South Australia in 1887 and recent research is being done into using the Australia in 1887 and recent research is being done into using the fiber in the production of composite board. fiber in the production of composite board. I led the first Print My Paper workshop in Alpurrurulam, a seven- I led the first Print My Paper workshop in Alpurrurulam, a seven- hour drive from Tennant Creek, across the Barkly Highway and hour drive from Tennant Creek, across the Barkly Highway and nearly halfway to the east coast, then to Canteen Creek at the end nearly halfway to the east coast, then to Canteen Creek at the end of a dirt road to the south east, both in Alyawarre country. Another of a dirt road to the south east, both in Alyawarre country. Another workshop took place at Alekarenge to the south, and two additional workshop took place at Alekarenge to the south, and two additional workshops were held at the Aboriginal Art Centers in Tennant workshops were held at the Aboriginal Art Centers in Tennant Creek. In each community we set up at the Women's Center where Creek. In each community we set up at the Women's Center where the Aboriginal women usually met to cook for the elderly and sick, the Aboriginal women usually met to cook for the elderly and sick, paint on canvas, and work on other projects. We always started with paint on canvas, and work on other projects. We always started with a bush trip to get to know the women and to learn about country a bush trip to get to know the women and to learn about country and plants. The women usually do not have ready access to a vehicle. and plants. The women usually do not have ready access to a vehicle. Any opportunity to go hunting or collecting bush tucker (bush Any opportunity to go hunting or collecting bush tucker (bush food) or medicine is always welcome. We would head "out bush" in food) or medicine is always welcome. We would head "out bush" in a Troopie (a ten-seater, four-wheel-drive vehicle) full of women and a Troopie (a ten-seater, four-wheel-drive vehicle) full of women and kids. At the time, the semi-desert Barkly country was verdant as the kids. At the time, the semi-desert Barkly country was verdant as the result of a wet season. We collected olive-green spinifex with tall, result of a wet season. We collected olive-green spinifex with tall, golden seed heads that looked like fields of wheat. At Canteen Creek golden seed heads that looked like fields of wheat. At Canteen Creek the elder women, Judith and Rosie, collected the soft variety "blue" the elder women, Judith and Rosie, collected the soft variety "blue" spinifex. We found water grasses (Chrysopogon fallax) and sedges spinifex. We found water grasses (Chrysopogon fallax) and sedges (Cyperus) along dry creek beds, and a native lemongrass—fibers we (Cyperus) along dry creek beds, and a native lemongrass—fibers we wanted to try for papermaking. wanted to try for papermaking. Alice at Alekarenge showed us trees used for carving, plants Alice at Alekarenge showed us trees used for carving, plants for dye, and plants for bush tucker. Her knowledge of the bush for dye, and plants for bush tucker. Her knowledge of the bush was extensive, sprinkled with anecdotes and history. The kids was extensive, sprinkled with anecdotes and history. The kids hung on her every word. On our way back to the Women's Center, hung on her every word. On our way back to the Women's Center, we made several stops. We checked the water level in a tiny, permanent we made several stops. We checked the water level in a tiny, permanent waterhole up in the rocks. We loaded firewood onto the waterhole up in the rocks. We loaded firewood onto the top of the Troopie. The kids dug up sand lizards or picked yellow top of the Troopie. The kids dug up sand lizards or picked yellow grevillea flowers for the sweet nectar. The women dug meter-deep grevillea flowers for the sweet nectar. The women dug meter-deep holes in the red sand for handfuls of long yams. We collected bush holes in the red sand for handfuls of long yams. We collected bush coconuts, a tasty parasitic gall, by knocking them off the trees with coconuts, a tasty parasitic gall, by knocking them off the trees with sticks. We gathered the sticky sweet fruit of the mistletoe, and sticks. We gathered the sticky sweet fruit of the mistletoe, and leaves from two different shrubs to be dried, boiled, and mixed leaves from two different shrubs to be dried, boiled, and mixed with fat to make medicines for congested chests. with fat to make medicines for congested chests. This knowledge has accumulated through a long series of observations This knowledge has accumulated through a long series of observations transmitted orally from generation to generation and transmitted orally from generation to generation and can be viewed as a kind of "capital" which should be formally recognized can be viewed as a kind of "capital" which should be formally recognized and protected. It is my belief that this knowledge should be and protected. It is my belief that this knowledge should be used only with the approval, involvement, and recognition of the Indigenous used only with the approval, involvement, and recognition of the Indigenous people. Otherwise it can become bio-prospecting; objectifying people. Otherwise it can become bio-prospecting; objectifying the knowledge and dispossessing the traditional custodians. the knowledge and dispossessing the traditional custodians. The workshops varied depending on each community's set of The workshops varied depending on each community's set of considerations. Sometimes we set up inside, sometimes outside. considerations. Sometimes we set up inside, sometimes outside. We adjusted the workshop depending on the availability of water, We adjusted the workshop depending on the availability of water, number of participants, and whether participants had prior art experiences. number of participants, and whether participants had prior art experiences. We used different types of drying surfaces. We turned We used different types of drying surfaces. We turned wheelbarrows into papermaking vats; and at one site we had to shoo wheelbarrows into papermaking vats; and at one site we had to shoo away wild donkeys! To press the paper we always jacked the Troopie away wild donkeys! To press the paper we always jacked the Troopie up on top of our post of papers. up on top of our post of papers. After processing the fiber in each community we pulled plain After processing the fiber in each community we pulled plain sheets before introducing color in the form of local earth pigments sheets before introducing color in the form of local earth pigments either mixed with pulp and formation aid in squeeze bottles or just either mixed with pulp and formation aid in squeeze bottles or just mixed with water and painted on gently with brushes. The traditional mixed with water and painted on gently with brushes. The traditional imagery in local ochres became impregnated into the paper made from local spinifex, an embodiment of their land. I brought imagery in local ochres became impregnated into the paper made from local spinifex, an embodiment of their land. I brought a couple of simple big moulds and where possible we made a large a couple of simple big moulds and where possible we made a large vat from building materials and lined it with plastic sheeting. vat from building materials and lined it with plastic sheeting. Dorothy and Ida were elder women in the community at Alpurrurulam Dorothy and Ida were elder women in the community at Alpurrurulam and were experienced painters. Although papermaking and were experienced painters. Although papermaking was new to them it struck a chord because they were using was new to them it struck a chord because they were using plants they knew to make the paper substrate for their earth imagery. plants they knew to make the paper substrate for their earth imagery. Their way of working was similar to traditional sand painting Their way of working was similar to traditional sand painting and they could see the potential of paper pulp as a new form of and they could see the potential of paper pulp as a new form of expression. They sang the story in language as they worked on expression. They sang the story in language as they worked on their woman's story of important local sites. their woman's story of important local sites. Indonesian West Timor is just a two-hour flight from Darwin Indonesian West Timor is just a two-hour flight from Darwin and has the same monsoonal weather patterns of extreme wet and and has the same monsoonal weather patterns of extreme wet and dry as the Top End of Australia and similar plants grow there as dry as the Top End of Australia and similar plants grow there as well. In 2007, I participated in a six-week residency in the Kupang well. In 2007, I participated in a six-week residency in the Kupang region of Indonesian West Timor in the village of Baun, the region of Indonesian West Timor in the village of Baun, the ancient capital of the Amarasi Kingdom. Funded by Asialink and ancient capital of the Amarasi Kingdom. Funded by Asialink and the Ford Foundation, our collaborative project with Sanggar Uim the Ford Foundation, our collaborative project with Sanggar Uim Nima, a cooperative of noted textile artisans, aimed to provide opportunities Nima, a cooperative of noted textile artisans, aimed to provide opportunities for long-term economic benefits, a revival of cultural for long-term economic benefits, a revival of cultural activity within the community, and to encourage the maintenance activity within the community, and to encourage the maintenance of cultural traditions. of cultural traditions. Textile production is an important source of income for the Textile production is an important source of income for the Amarasi people. The ikat cloths are central to their ceremonies associated Amarasi people. The ikat cloths are central to their ceremonies associated with life events and rituals; they are treasured family heirlooms. with life events and rituals; they are treasured family heirlooms. The traditional practice involves growing, spinning, dyeing The traditional practice involves growing, spinning, dyeing using plant dyes, and weaving cotton by hand. A single cloth can using plant dyes, and weaving cotton by hand. A single cloth can take six to nine months to make. Each region has distinctive styles, take six to nine months to make. Each region has distinctive styles, colors, and designs that have been handed down through generations. colors, and designs that have been handed down through generations. I leaned on the Amarasi community's Indigenous knowledge I leaned on the Amarasi community's Indigenous knowledge of local fiber plants, natural plant dyes, and textiles, as my starting of local fiber plants, natural plant dyes, and textiles, as my starting point for papermaking. At the same time Leon Stainer, a partner in point for papermaking. At the same time Leon Stainer, a partner in the project, was developing printmaking skills, focusing on copper the project, was developing printmaking skills, focusing on copper engraving using traditional iconography. engraving using traditional iconography. I arrived with a smattering of basic words in Bahasa Indonesian, I arrived with a smattering of basic words in Bahasa Indonesian, but it was Latin that came in most handy! Community member but it was Latin that came in most handy! Community member Pak Mel had studied agriculture at Kupang University and by Pak Mel had studied agriculture at Kupang University and by using the Latin botanical names we could identify different fiber using the Latin botanical names we could identify different fiber plants. I bought a copy of Kamus Pertanian Umum, a comprehensive plants. I bought a copy of Kamus Pertanian Umum, a comprehensive Indonesian–Latinate dictionary of agriculture that fortunately Indonesian–Latinate dictionary of agriculture that fortunately included the local dialect. We referred to it constantly in our plant included the local dialect. We referred to it constantly in our plant discussions; it brought our two bodies of environmental knowledge discussions; it brought our two bodies of environmental knowledge together. With it, we compiled a database folder of the 17 together. With it, we compiled a database folder of the 17 plants we experimented with, recorded the plant names in both plants we experimented with, recorded the plant names in both Latin and in the local dialect, outlined the processes used, and included Latin and in the local dialect, outlined the processes used, and included a sample of each paper. a sample of each paper. Some of the local fiber plants we used included the culturally Some of the local fiber plants we used included the culturally significant lontar palm (Corypha utan), Ficus varieties, and four different significant lontar palm (Corypha utan), Ficus varieties, and four different banana trees (Musa). We also tried alang-alang grass (Imperata banana trees (Musa). We also tried alang-alang grass (Imperata cylindrica) that is used for thatching, rice straw after the local cylindrica) that is used for thatching, rice straw after the local harvest, and sedges. We installed basic papermaking equipment harvest, and sedges. We installed basic papermaking equipment that we left it in place for the community to continue to use. The that we left it in place for the community to continue to use. The traditional wooden pestle and mortar called a lesung was an effective traditional wooden pestle and mortar called a lesung was an effective beating tool for the bast fiber but very time consuming. Everyone beating tool for the bast fiber but very time consuming. Everyone much preferred the lesung listrick—the community's name for much preferred the lesung listrick—the community's name for the electric blender! the electric blender! By promoting collaboration and recognizing the Indigenous By promoting collaboration and recognizing the Indigenous community's extensive botanical knowledge, the Baun workshops community's extensive botanical knowledge, the Baun workshops resulted in new papermaking research, and provided a practical resulted in new papermaking research, and provided a practical link to this traditional knowledge—a tangible expression of the link to this traditional knowledge—a tangible expression of the past, the present, and the future. past, the present, and the future. I am currently working in conjunction with Buku-Larrnggay I am currently working in conjunction with Buku-Larrnggay Mulka Arts Centre in Yirrkala and Nomad Art in Darwin exploring Mulka Arts Centre in Yirrkala and Nomad Art in Darwin exploring the potential of using stringy bark (Eucalyptus tetradonta) for papermaking. the potential of using stringy bark (Eucalyptus tetradonta) for papermaking. The surname Mulka means a sacred but public ceremony, The surname Mulka means a sacred but public ceremony, and to hold or protect. Buku-Larrnggay Mulka's mission is to sustain and to hold or protect. Buku-Larrnggay Mulka's mission is to sustain and protect Yolngu cultural knowledge in Northeast Arnhem Land and protect Yolngu cultural knowledge in Northeast Arnhem Land under the leadership of community members to provide a knowledge under the leadership of community members to provide a knowledge center for future generations. Nomad Art focuses on art that center for future generations. Nomad Art focuses on art that involves cross-cultural collaborations between artists and master involves cross-cultural collaborations between artists and master practitioners. One goal of the project is to make paper "on country" practitioners. One goal of the project is to make paper "on country" with the artists to produce new artworks for exhibition. with the artists to produce new artworks for exhibition. Stringy bark is one of the two most common trees of the Top Stringy bark is one of the two most common trees of the Top End landscape. It is a source of timber for canoes and for tools. As a calendar tree cueing events and cycles in the environment, End landscape. It is a source of timber for canoes and for tools. As a calendar tree cueing events and cycles in the environment, stringy bark has important mythic and totemic associations. Called stringy bark has important mythic and totemic associations. Called wanambi the stringy bark tree is filled with wild honey and in ancestral wanambi the stringy bark tree is filled with wild honey and in ancestral times it is said that the huge honey-laden tree crashed to times it is said that the huge honey-laden tree crashed to the ground creating rivers and the Mulka ceremonial ground. It is the ground creating rivers and the Mulka ceremonial ground. It is linked to the Marrakulu clan of the Dhuwa moiety. linked to the Marrakulu clan of the Dhuwa moiety. The bark is collected at the end of the wet season when the sap The bark is collected at the end of the wet season when the sap is rising and the bark is supple enough to be cut and peeled off in is rising and the bark is supple enough to be cut and peeled off in large sheets. The outer and some of the inner bark are peeled away large sheets. The outer and some of the inner bark are peeled away and the sheets are flattened under weights after heating over a fire. and the sheets are flattened under weights after heating over a fire. We use the layers of discarded bark to make paper. We use the layers of discarded bark to make paper. Early colonization references to stringy bark include an 1887 letter Early colonization references to stringy bark include an 1887 letter to the Adelaide Times from W.B. Caw who recounted the negative to the Adelaide Times from W.B. Caw who recounted the negative response he received when he sent stringy bark fiber samples to London response he received when he sent stringy bark fiber samples to London to test for papermaking: "the fibre was only fit for making woolpacks to test for papermaking: "the fibre was only fit for making woolpacks and corn-sacks." I am having mixed success so far with my papermaking and corn-sacks." I am having mixed success so far with my papermaking experiments with stringy bark by-products from the bark experiments with stringy bark by-products from the bark painting preparation that Buku-Larrnggay sends to me. I have found painting preparation that Buku-Larrnggay sends to me. I have found that some batches of the coarse, high-shrinkage fiber have a peculiar that some batches of the coarse, high-shrinkage fiber have a peculiar aversion to formation aid leading to inconsistent fiber distribution aversion to formation aid leading to inconsistent fiber distribution in the final sheets. It is not an easy paper to make even though the in the final sheets. It is not an easy paper to make even though the stringy bark is my sister! I have yet to test it as a printing or chine-collé stringy bark is my sister! I have yet to test it as a printing or chine-collé paper. This project may or may not be successful in incorporating paper. This project may or may not be successful in incorporating new ideas and techniques into another culture. My sense is that its new ideas and techniques into another culture. My sense is that its success depends on how the ideas fit into the complex matrix of existing success depends on how the ideas fit into the complex matrix of existing traditional practice and understandings. In Yirrkala, it is said: traditional practice and understandings. In Yirrkala, it is said: "Plants and animals are related to us, to each other and the land, "Plants and animals are related to us, to each other and the land, through ceremonies, through songs, through Law and through our through ceremonies, through songs, through Law and through our common creation history. In short, plants are treated with the same common creation history. In short, plants are treated with the same respect and held in the same regard as all other parts of the natural respect and held in the same regard as all other parts of the natural environment, including ourselves."10 environment, including ourselves."10 Traditional custodians of Indigenous lands are under increasing Traditional custodians of Indigenous lands are under increasing pressure particularly from mining companies with promises of royalties pressure particularly from mining companies with promises of royalties to exploit their lands. Fiber-based projects can provide an alternative to exploit their lands. Fiber-based projects can provide an alternative income, enabling Indigenous peoples to meet their cultural income, enabling Indigenous peoples to meet their cultural obligations to their land and resources. There are many examples of obligations to their land and resources. There are many examples of fiber and papermaking projects around the world that facilitate and fiber and papermaking projects around the world that facilitate and develop the capacity of Indigenous communities to conserve and develop the capacity of Indigenous communities to conserve and apply their knowledge in an increasingly globalized economy. We apply their knowledge in an increasingly globalized economy. We can learn a great deal by recognizing and incorporating Indigenous can learn a great deal by recognizing and incorporating Indigenous knowledges developed by people with extended histories of interaction knowledges developed by people with extended histories of interaction with the natural environment. For Indigenous people these sophisticated with the natural environment. For Indigenous people these sophisticated sets of understandings embody language, naming and sets of understandings embody language, naming and classification systems, use of the resources, and ritual spirituality. classification systems, use of the resources, and ritual spirituality. For us, Indigenous knowledges convey an awareness of the broad For us, Indigenous knowledges convey an awareness of the broad relationship between people and their environment, the existence relationship between people and their environment, the existence of concurrent knowledge systems, and the recognition of culture of concurrent knowledge systems, and the recognition of culture as the fundamental essence of whom each of us are. as the fundamental essence of whom each of us are. ___________ ___________ notes notes 1. "The Protection of Indigenous Knowledge's," chapter 7 in Native Title Report 1. "The Protection of Indigenous Knowledge's," chapter 7 in Native Title Report 2008 (Sydney: Australian Human Rights and Equal Opportunity Commission, 2008 (Sydney: Australian Human Rights and Equal Opportunity Commission, 2009), 212. 2009), 212. 2. Interview with curator Margie West in Maningrida: The Language of Weaving, 2. Interview with curator Margie West in Maningrida: The Language of Weaving, exhibition catalog (South Melbourne: Australian Exhibitions Touring Agency, exhibition catalog (South Melbourne: Australian Exhibitions Touring Agency, 1995), 6. 1995), 6. 3. Louise Hamby, Body & Bathi (Victoria, Australia: Utber & Patullo Publishing, 3. Louise Hamby, Body & Bathi (Victoria, Australia: Utber & Patullo Publishing, 2010), 69. 2010), 69. 4. Lak Lak Burarrwanga et al., Weaving Lives Together at Bawaka: North East 4. Lak Lak Burarrwanga et al., Weaving Lives Together at Bawaka: North East Arnhem Land (Callaghan, NWS Australia: Centre for Urban and Regional Studies, Arnhem Land (Callaghan, NWS Australia: Centre for Urban and Regional Studies, University of Newcastle, 2008), 14. University of Newcastle, 2008), 14. 5. Louise Hamby, Body & Bathi, 104. 5. Louise Hamby, Body & Bathi, 104. 6. Margie West, ed., The Inspired Dream: Life as Art in Aboriginal Australia 6. Margie West, ed., The Inspired Dream: Life as Art in Aboriginal Australia (Brisbane, Australia: Queensland Art Gallery, 1988), 62. (Brisbane, Australia: Queensland Art Gallery, 1988), 62. 7. Natural Resources, Environment, the Arts and Sport (NRETAS), "Churchill 7. Natural Resources, Environment, the Arts and Sport (NRETAS), "Churchill Fellowship Recipient Crossing Continents," media release, March 31, 2009. Fellowship Recipient Crossing Continents," media release, March 31, 2009. 8. Heidi T Pitman and Lynley A Wallis, "The Point of Spinifex: Aboriginal Uses 8. Heidi T Pitman and Lynley A Wallis, "The Point of Spinifex: Aboriginal Uses of Spinifex Grasses in Australia," Ethnobotany Research & Applications vol. 10 of Spinifex Grasses in Australia," Ethnobotany Research & Applications vol. 10 (April 2012): 120. (April 2012): 120. 9. Ibid. 9. Ibid. 10. B. Yunupingu et al., "Rirratjingu Ethnobotany: Aboriginal Plant Use from 10. B. Yunupingu et al., "Rirratjingu Ethnobotany: Aboriginal Plant Use from Yirrkala, Arnhem Land, Australia," Northern Territory Botanical Bulletin No. 21 Yirrkala, Arnhem Land, Australia," Northern Territory Botanical Bulletin No. 21 (Darwin: Conservation Commission of the Northern Territory, 1995), 7. (Darwin: Conservation Commission of the Northern Territory, 1995), 7.

‍