Collaborated permanence - The Painters Keys
In 1970, Geoffrey Bardon was teaching elementary school art in New South Wales when he could no longer ignore the emotional struggles of his Aboriginal students. In an effort to gain insight, he applied for a teaching post in a remote government assimilation centre 240 kilometres west of Alice Springs. In his diary, he described Papunya as “a hidden place, unknown on maps, considered by officials as a problem place,” where 1400 people had been gathered from scattered tribal groups, having been forced from their land and way of life.
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