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northern territory

40,000 kms and counting

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40,000 kms and counting

Binns Track is in the northwest of the Northern Territory... a rambling 2191km outback drive, beginning up north in the rugged, rocky, shale-ridden Gregory National Park - over on the Western Australian border - where 2-spare tyres are recommended and a number of local tracks are currently closed for whatever reason... something to deal with from time to time. Then we head east and south, down to the Davenport Ranges where to drive one 17km river section takes 2hrs. Yes, the track conditions vary, sometimes sand, rock or plain old bulldust, sometimes narrow with 2-individual  tyre tracks, sometimes road-train wide with no-go bog areas, serious bumps and ruts here and there.

We stop to chat on occasions, indigenous communities often close by, small groups camped along the track to search out bush tucker... wild bush beans and seeds being family favourites.

But today we are camped at Tower Rock - 200km northeast of Alice Springs - a recently created Conservation Area donated by a local station family. And after 8mths on the road - having travelled over 40,000km - it's another journey milestone.

Tower Rock is a special place, for us found almost by accident - a handful of mammoth, isolated but atmospheric redrock piles just off Binns Track,  mentioned in our WIKICAMPS bible with 3-reviews amounting to a rating of 4.8-stars out of 5, the surrounding scrub-covered plains melding with an endless red horizon... and at night just us, the rush of a  cool breeze among dark boulder piles, and a blanket of stars overhead.

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6-months on the road

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6-months on the road

For this milestone we are in Northern Territory on the Gove Peninsula, East Arnhem Land.... and we are wandering the airy corridors of the YIRRKALA ART CENTRE - an expansive display of Indigenous Arnhem Aboriginal art.

It's been 6mths now, since leaving the cooler climes of Bayside Melbourne... and every now and then something special has come our way...  like a special moment or thing, an event, a place or person. This time it's all about a priceless national treasure we have never heard of.

To get to Yirrkala it's been a drive on the reddest of roads,  billowing dust the norm, corrugations common and the occasional rut  - '24hrs from Katherine' the information brochure says, although 'only' 700km as our truck flies.

We overnight at Mainoru Roadhouse, our recommended stop in accordance with our over-the-counter, no-cost, 10-day permit from the Northern Land Council office in the Katherine main street.

On our arrival at Nhulunbuy on the Gove Peninsula, we seek out the 'Dhimurru Corporation' office for camping permits on Aboriginal land, then our NT liquor permit to buy take-away alcohol.

The seaside town of Yirrkala is 20km to the south, the scent of frangipani on a breeze, the sun hot, the Gulf of Carpentaria a glittering turquoise blue and the sand a dazzling white.

The gallery is adjacent an Aussie Rules oval of green grass, a stadium/shed and store. Impressive murals cover outside walls... the heros of Aboriginal rights going back to the 1960s. The gallery entry is plain and unadorned, the glass door dark and dusty under a wide, shady verandah. 

Once inside is another story... a treasure-trove of handmade indigenous art typical of this isolated region. There are forests of traditional wooden Yidaki - didgeridoo - with the most intricate traditional designs, wall hangings and paintings. Shelves are stacked full of books, CDs and carvings. Simple racks are laden with woven bags and a photographer snaps special pieces in a cluttered room off to the side.

Justin is lean, has a greying mane of straight hair and has been here since the 90s. He rises from behind his computer screen, stands tall in a plain white tee-shirt and blue jeans. There is something we must see, he says.

Out back is a specially-built darkened room with timber steps down to a small sunken cellar of sorts - atmospheric with soft lighting designed to highlight 2-vertical panels. Both are intricate in their design - rustic browns and blacks - with a low bench seat directly across from, and in front of the panels. There is a lot for the visitor to take in. 

The panels are about 1m wide by 3m high and hang side by side. And they tell an Aboriginal creation story, wonderfully presented in detail by the Indigenous artists, but evidently with no Christian influence, coersion or direction.

Justin tells a story that begins "before my time", the panels created by Yolnu elders and gifted to the newly opened Methodist church in 1963, intended for permanent display as a screen behind the communion table. Justin waves one hand towards the front door. "You would have seen the church over the road."

The story continues... 10yrs after the panels are installed - around 1983 -  a new missionary arrives at the church, saying the panels are inappropriate for a church, and are most certainly "heathen" works. Both panels are stripped from inside the church against the wishes of the Parish Committee.

The panels lie neglected and forlorn for 4yrs - but are never completely forgotten - propped against an outside wall exposed to the ways of mud wasps and weather, before being rescued by a coalition of Indigenous and non-Indigenous activists, then cleaned by the staff of the Australian University.

Justin pauses for effect and to gather his thoughts while peering over the top of thin-rimmed glasses. "And that was the beginning of a movement here in Arnhem Land... you might say, the very beginning of the entire Australian Indigenous Land Rights movement."

Down in the cellar my eyes are drawn to the panel on the right, with a small figure top and centre - a diminutive, painted bird - this little bird being the ancestral link between the spirit and the temporal worlds, flanked by helpers on his immediate right and left... the cicada and the possum. Alas, an ancient story considered inappropriate to the doctrines taught in a civilized house of worship. 

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