Ashley Perry
Garr-ba Kun-ji:-yil Ba:-bun (Another Moon Corroboree)
8
March 2018
8
Mar
2018
23
Mar 2018
Garr-ba Kun-ji:-yil Ba:-bun (Another Moon Corroboree)
Ashley Perry
8
March 2018
8
March
2018
23
March 2018
The Kun-ji:-yil Ba:-bun (Moon Corroboree) ceremony stemmed from traditional Quandamooka practices which were adapted to take place within the mission system. This would include the construction of a moon to rise during the ceremony. A number of traditional dances and songs were performed during the event. This ceremony only took place at specific moments during the lunar cycle.Garr-ba Kun-ji:-yil Ba:-bun is a reimagining of the moon prop that was used in the ceremony, now made out of many shards of glass, drawn together to create the important circular motif of the moon. This work stems from ongoing research into Quandamooka practices, from looking through museum and university archives and working with community members.
The Kun-ji:-yil Ba:-bun (Moon Corroboree) ceremony stemmed from traditional Quandamooka practices which were adapted to take place within the mission system. This would include the construction of a moon to rise during the ceremony. A number of traditional dances and songs were performed during the event. This ceremony only took place at specific moments during the lunar cycle.Garr-ba Kun-ji:-yil Ba:-bun is a reimagining of the moon prop that was used in the ceremony, now made out of many shards of glass, drawn together to create the important circular motif of the moon. This work stems from ongoing research into Quandamooka practices, from looking through museum and university archives and working with community members.
Ashley Perry
I am an interdisciplinary Goenpul artist from Quandamooka country.My recent works come from research into Quandamooka cultural practices, focusing on material culture held in museums, universities and private collections. This research is used to produce works that uncover and question the discrepancies embedded in these archives. Drawn from several sources, from first-hand accounts to historical documents, these varied and often differing accounts are interrogated, compared and used to produce the works. The works question the certainty of these histories and offer alternative speculative potential. I am Interested in decolonising theories as a way of understanding materials, histories and artistic practice, and examining knowledge structures and methods around collections.