#Kimberley

[travelmanposts]

Camel Safari, Cable Beach, Broome, Western Australia: Cable Beach’s renowned camel trains make for a striking silhouette against the flame-red sky. Camel rides are available around sunrise and sunset hours...Cable Beach is a 22 km stretch of white sand beach on the eastern Indian Ocean and the name of the surrounding suburb in Broome, Western Australia. Wikipédia

[roseverie]

KIMBERLEY; meaning from the meadow of the royal fortress

“You are a thousand flowers, you are a meadow full of them—”

requested by anon

[prejacleaker00]

[saramencken]

Robert Mapplethorpe in front of his cover for Horses

[kpop-idolxx]

VVUP

[kpop-girlsworld]

VVUP

[postcard-from-the-past]

Cecil Rhodes visiting “Fort Rhodes”, an important position defended by the Kenilworth Defence Force during the siege of Kimberley, South Africa

British vintage postcard

[mrtheengie]

The Pride of Africa

South African Railways 25NC

This is a peak into my imagination. In my mind’s eye, I often picture wheels screaming round and round, crossheads pounding back and forth, and cab rides at high speed. Thoughts of steam fill my mind at all hours of the day, and my dreams at night. These things aren't just machines. They are so much more.

Steam inspires me, but the people who worked it inspire me even more. That's why I've chosen the 25NC. I've read a bunch of stories and watched videos put out by this old South African railway man. He was there until the end of steam in the 1990s. The stories he tells provide a wonderful insight into railway life, and the strong friendships the railway men formed with one another.

Now, about the picture. This was very fun and experimental. I'm not good and conveying motion, so I want to get better at it. I think I did alright with the wheels and rods. At first, I wanted to do the front end (the "business end," some might say), but I decided to take it easy on myself and do the back end. If I had colors at my disposal, I would set the picture during the night, and have the rods barely lit by the orange glow from the firebox. Maybe another time.

[triumph-of-adaptation]

We went to what was essentially “crocodile jail” for crocs in Broome (Rubibi, Yamatji country) who go rogue and the public wants them removed from the wildlife. One of them was in there for eating a horse. Did you know they store food in their tails and can survive for up to a year without food? The little ones can survive for 4 months without food. Overall a very dodgy/ethically concerning experience but still fascinating. They were selling crocodile skin purses in the gift shop 🫤

Oh and they sell kangaroo tail in the local Coles Supermarket!

[ozer1497]

wanted to take a better photo but we were in a rush

[outta-my-mind2018]

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[slocgupdates]

[nando161mando]

Child acquitted of attempting to ram police car | ABC News

[optikes]

1 Alec Mingelmanganu, Wunambal people, Western Australia (1905–1981) Wandjina (c1980) natural earth pigments and oil paint on canvas 159x139.5cm

2 Jack Karadada, Wunambal people, Western Australia (1918 /1922–2003) Untitled(Wandjina) (c1971) natural earth pigments and binder on eucalyptus bark 145.5x67cm

3 Lily Karadada, Wunambal people, Western Australia (1935 /1939)Wandjina (1991) Kalumburu, Kimberley, Western Australia, natural pigments on canvas 80x60cm         

A    kimberleyfoundation.org.au    

Aboriginal people in northern and central Kimberley continue to identify with Wanjina, a continuous tradition dating to the last 4000 years. As figurations of supernatural power, images of Wanjina are characterised by halo-like headdresses and mouthless faces with large round eyes, set either side of an ovate nose. These ‘Creator Beings’ and the ‘Wunggurr Creator Snake’ are painted in many forms and can be repainted to ensure annual renewal of the seasonal cycle and the associated periods of natural fertility. The actual Wanjina is believed to either reside in the rock where it is painted or to have left its body there. Also called: Regular Infill Period, Polychrome Art Period.

 B   nga.gov.au

In many parts of the Kimberley in Western Australia, the Wandjina ancestral beings established the laws of social behaviour. The Wandjina are associated with the life-giving properties of water. They bring the monsoonal rains and distribute the spirits of the unborn to their eventual parents. Mingelmanganu was the first artist in the region to continue the tradition on canvas. To convey the scale of the rock paintings, he used the possibilities presented by the size of canvas as opposed to the smaller sheets of eucalyptus bark which artists in the area were used to painting on.

 C   Kim Akerman nga.gov.au

Unlike most Wanjina images that seem to stare far into the distance, those painted by Alec Mingelmanganu appear to be the audience gazing at the viewer, rather than being the subject of a painting. The close-set eyes lend a disconcerting air of questioning to the image. In turn, the broad hunched shoulders suggest that the Wanjina may not be all that comfortable with the world of humans.

Like most Wanjina painted in rock shelters, Alec’s figures possess a sense of enigmatic magnitude, a massiveness that projects far beyond the edges of the canvas. Mingelmanganu’s Wanjina paintings, executed in ochres on bark, were first exhibited publicly in mid 1975. As well as producing paintings for the (then) very limited market, Alec also engraved Wanjina figures, either singly or in groups, on tablets of stone or wood that had first been covered with a wash of ochre and gum.

In 1979 he was introduced to canvas as a more stable surface on which to paint, and in 1980 he had his first solo exhibition in Perth. Inspired by large non-Aboriginal paintings he had seen in Perth, Alec then embarked on painting a series of large canvases, completing at least four superb works before his death in 1981. The larger size offered him the opportunity to render his images of Wanjina on a scale similar to that found in the rock art of the Kimberley. The monumental strength and character in these works ensures that Alec Mingelmanganu will be recognised as the greatest of the contemporary Wanjina artists of the Kimberley.