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Re-connections & Offerings
To coincide with the Meroogal Women’s Art Prize, I was commissioned to create a self-guided intergenerational making activity inspired by Meroogal, titled Re-Connections and Offerings.
The activity is free with general entry and will be on offer every Saturday throughout the exhibition period, 26 September 2020 – April 2021
The full artist statement is provided below and gives the important backstory to developing the making activity which can be completed at Meroogal itself or remotely wherever you might be. See the Sydney Living Museums link here https:// /events/paula-do-prado-re-connections-and-offerings
The activity is free with general entry and will be on offer every Saturday throughout the exhibition period, 26 September 2020 – April 2021
The full artist statement is provided below and gives the important backstory to developing the making activity which can be completed at Meroogal itself or remotely wherever you might be. See the Sydney Living Museums link here https:// /events/paula-do-prado-re-connections-and-offerings
Meroogal artist statement
I first visited Meroogal over 10 years ago as a university student studying textiles. I distinctly remember opening up one of the drawers to find these exquisite lace collars. I remember a feeling of discomfort in the house. I much preferred being outside in the garden. When I was recently invited by Sydney Living Museums Public Programs Coordinator, Aleema Ash to create an activity that would respond to the Merrogal site/stories/collection I was excited by the idea but had reservations. It seemed to me that Meroogal like many other regional museums, was upholding and celebrating a singular colonial narrative. I raised these concerns with Aleema in my email reply. We went on to meet over zoom and then we also met in person together with Visitor Services Coordinator Dave Keys who works across Elizabeth Farm, Meroogal and Rouse Hill House & Farm . We found we all had a common passion: to engage audiences through creativity and bring forgotten or otherwise hidden narratives to life. And so it is in the spirit of deconstructing the singular narrative that I embraced the opportunity to re-connect with Meroogal.
I migrated to Australia as a 7 year old with my parents from Uruguay in South America. It has taken me some time, many conversations and research to get a fuller picture of my diverse maternal and paternal lineages that include West and East African (Bantu), Portuguese, Spanish and Indigenous South American ancestry. Making things with my hands, drawing and experimenting with different materials has always been a way for me to reflect and process thoughts and experiences. My art practice has helped me articulate those things I can’t always put into words and make the invisible visible.
There are lots of things we know about Meroogal and equally many things we dont. We have physical items such as the house itself and its contents: furniture, textiles, letters and diaries from which to glean insights. But one of my first questions which didn’t seem to have an easily accessible answer was what does the word Meroogal mean and where does it come from? Is it a Dharug or Dharawal word and why did Kenneth McKenzie the architect name it as such? I’ve read through Tot’s diaries and there’s no mention of interactions with the local Indigenous people of the area. Nor is there much information about Kenneth McKenzie’s or his nephew Robert Thornburn’s work at the Yalwal gold mine, only that it was Robert’s success as a goldminer that funded the construction of Meroogal. That intergenerational wealth in the form of the Meroogal house sustained four generations of independent women which is significant even by today’s standards.
I’ve seen Meroogal described as a ‘women’s history place’ and I wonder how the story of the four generations of Meroogal women would read if it were integrated with, rather than viewed separately from other women’s narratives of the same period, particularly First Nations women and early settler women of the south coast area. This self directed making activity will be running concurrently to The Meroogal Women’s Art Prize 2020, an important event that helps make connections between past, present and future by inviting female artists to directly engage with Meroogal’s meaning and significance within broader historical and contemporary contexts. I have titled the self directed making activity “Re-connections and offerings” to expand upon this notion of Meroogal as an archive for women’s stories from my own personal perspective.
In both African and Indigenous South American cultures, trees represent the divine feminine. My personal connection to Meroogal are the Jacaranda trees. Jacaranda’s are native to South America and are commonly found in Brazil, Argentina, Paraguay and Uruguay. Jacaranda’s are known for their medicinal properties and for their use to make dye. There are various myths and origin stories associated with the tree, iconic for its beautiful and abundant lilac/blue flowers. The name jacaranda is said to come from the Tupi-Guarani “yacarandá” meaning fragrant. For me the yacarandá is what I call a plantcestor. The term “plantcestor” was originally coined and popularised by Layla Kristy Feghali to refer to those plants, trees and herbs that we are connected to because our ancestors used them to make medicines and/or considered sacred.
The Jacaranda at Meroogal is said to have been planted in 1909 or 1910 and comes from a seed taken from one of the first jacarandas in the colony making it over 100 years old. Imagine all that these ‘wise women’ trees have witnessed over time, and all that they have survived to continue to exist and bloom today. Jacaranda’s are said to have a vigorous root system and if you look carefully you’ll note their roots have little regard for fences, pipes and any other man made barriers. I love how their thick roots peek just above ground before they dive and disappear back underground. They are striking trees not just above but also below ground.
The making activity is intended as an opportunity to take a moment, a pause and to reconnect with both nature and a sense of creative wonder. There is no right or wrong way to approach the making. The jacarandas are generous and leave ample making material littered on the lawn, both the twigs and seeds can be used. The activity can be completed at Meroogal itself whilst visiting to see the Women’s Art Prize or it could be done in your backyard, balcony garden or your local park. Integrating natural materials in the making invites reconnection but also reflection on re-establishing equal give and take with nature. A moment to consider how we are giving back in gratitude for all that we seek to take. As the focal point, the trees encourage an ongoing reflection on what is above (what is visible, what we think we know) and what is below (what is hidden, what has been forgotten or silenced) and how we can come to be in right-relationship with each other, those who came before us and the land we live on.
Paula do Prado
September 2020
I migrated to Australia as a 7 year old with my parents from Uruguay in South America. It has taken me some time, many conversations and research to get a fuller picture of my diverse maternal and paternal lineages that include West and East African (Bantu), Portuguese, Spanish and Indigenous South American ancestry. Making things with my hands, drawing and experimenting with different materials has always been a way for me to reflect and process thoughts and experiences. My art practice has helped me articulate those things I can’t always put into words and make the invisible visible.
There are lots of things we know about Meroogal and equally many things we dont. We have physical items such as the house itself and its contents: furniture, textiles, letters and diaries from which to glean insights. But one of my first questions which didn’t seem to have an easily accessible answer was what does the word Meroogal mean and where does it come from? Is it a Dharug or Dharawal word and why did Kenneth McKenzie the architect name it as such? I’ve read through Tot’s diaries and there’s no mention of interactions with the local Indigenous people of the area. Nor is there much information about Kenneth McKenzie’s or his nephew Robert Thornburn’s work at the Yalwal gold mine, only that it was Robert’s success as a goldminer that funded the construction of Meroogal. That intergenerational wealth in the form of the Meroogal house sustained four generations of independent women which is significant even by today’s standards.
I’ve seen Meroogal described as a ‘women’s history place’ and I wonder how the story of the four generations of Meroogal women would read if it were integrated with, rather than viewed separately from other women’s narratives of the same period, particularly First Nations women and early settler women of the south coast area. This self directed making activity will be running concurrently to The Meroogal Women’s Art Prize 2020, an important event that helps make connections between past, present and future by inviting female artists to directly engage with Meroogal’s meaning and significance within broader historical and contemporary contexts. I have titled the self directed making activity “Re-connections and offerings” to expand upon this notion of Meroogal as an archive for women’s stories from my own personal perspective.
In both African and Indigenous South American cultures, trees represent the divine feminine. My personal connection to Meroogal are the Jacaranda trees. Jacaranda’s are native to South America and are commonly found in Brazil, Argentina, Paraguay and Uruguay. Jacaranda’s are known for their medicinal properties and for their use to make dye. There are various myths and origin stories associated with the tree, iconic for its beautiful and abundant lilac/blue flowers. The name jacaranda is said to come from the Tupi-Guarani “yacarandá” meaning fragrant. For me the yacarandá is what I call a plantcestor. The term “plantcestor” was originally coined and popularised by Layla Kristy Feghali to refer to those plants, trees and herbs that we are connected to because our ancestors used them to make medicines and/or considered sacred.
The Jacaranda at Meroogal is said to have been planted in 1909 or 1910 and comes from a seed taken from one of the first jacarandas in the colony making it over 100 years old. Imagine all that these ‘wise women’ trees have witnessed over time, and all that they have survived to continue to exist and bloom today. Jacaranda’s are said to have a vigorous root system and if you look carefully you’ll note their roots have little regard for fences, pipes and any other man made barriers. I love how their thick roots peek just above ground before they dive and disappear back underground. They are striking trees not just above but also below ground.
The making activity is intended as an opportunity to take a moment, a pause and to reconnect with both nature and a sense of creative wonder. There is no right or wrong way to approach the making. The jacarandas are generous and leave ample making material littered on the lawn, both the twigs and seeds can be used. The activity can be completed at Meroogal itself whilst visiting to see the Women’s Art Prize or it could be done in your backyard, balcony garden or your local park. Integrating natural materials in the making invites reconnection but also reflection on re-establishing equal give and take with nature. A moment to consider how we are giving back in gratitude for all that we seek to take. As the focal point, the trees encourage an ongoing reflection on what is above (what is visible, what we think we know) and what is below (what is hidden, what has been forgotten or silenced) and how we can come to be in right-relationship with each other, those who came before us and the land we live on.
Paula do Prado
September 2020
References
1 This article written by Jen Saunders for The Conversation looks into museums in Berry, Kangaroo Valley and Nowra https://theconversation.com/friday-essay-small-histories-how-a-road-trip-reveals-local-museums-stuck-in-a-rut-113104
2 Profile of Dave Key, Visitor Services Coordinator for Elizabeth House, Meroogal and Rouse Hill House & Farm https://sydneylivingmuseums.com.au/profile/dave-key
3 “Meroogal’s Uncle Kenny” Story of Kenneth McKenzie by Megan Martin https://sydneylivingmuseums.com.au/stories/meroogals-uncle-kenny
4 Link to online archive of Kennina Fanny Thornburn’s “Tottie” diaries on SLM https://sydneylivingmuseums.com.au/stories/tottie-thorburns-diary
5 Article on book release Mountain of Gold, The Yalwal Gold Field by local historian and Shoalhaven Historical Society member Robyn Florance https://www.begadistrictnews.com.au/story/3440008/yalwals-rich-gold-history/?cs=512
6 Contains the personal narratives and recollections of nine Aboriginal Women from the South Coast Region of NSW. Womens Heritage Nowra, Dept of Environment and Conservation NSW https://www.environment.nsw.gov.au/resources/cultureheritage/womensHeritageNowra.pdf
7 The finalists for the Meroogal Women’s Art Prize 2020 have been announced and the exhibition is due to open on 19 September 2020 https://sydneylivingmuseums.com.au/meroogal-womens-art-prize-2020
8 Layla Kristy Feghali is an educator working on decolonization, healing, and re-membrance of the original teachings and medicine of our indigenous ancestors with a focus on the SWANA (Middle East + North Africa) region. She originally coined the term ‘plancestor’ https://www.swanaancestralhub.org/what-does-plantcestor-mean
9 Article written by former SLM gardener Cheryl Scowen https://sydneylivingmuseums.com.au/stories/1920s-garden-revisited
1 This article written by Jen Saunders for The Conversation looks into museums in Berry, Kangaroo Valley and Nowra https://theconversation.com/friday-essay-small-histories-how-a-road-trip-reveals-local-museums-stuck-in-a-rut-113104
2 Profile of Dave Key, Visitor Services Coordinator for Elizabeth House, Meroogal and Rouse Hill House & Farm https://sydneylivingmuseums.com.au/profile/dave-key
3 “Meroogal’s Uncle Kenny” Story of Kenneth McKenzie by Megan Martin https://sydneylivingmuseums.com.au/stories/meroogals-uncle-kenny
4 Link to online archive of Kennina Fanny Thornburn’s “Tottie” diaries on SLM https://sydneylivingmuseums.com.au/stories/tottie-thorburns-diary
5 Article on book release Mountain of Gold, The Yalwal Gold Field by local historian and Shoalhaven Historical Society member Robyn Florance https://www.begadistrictnews.com.au/story/3440008/yalwals-rich-gold-history/?cs=512
6 Contains the personal narratives and recollections of nine Aboriginal Women from the South Coast Region of NSW. Womens Heritage Nowra, Dept of Environment and Conservation NSW https://www.environment.nsw.gov.au/resources/cultureheritage/womensHeritageNowra.pdf
7 The finalists for the Meroogal Women’s Art Prize 2020 have been announced and the exhibition is due to open on 19 September 2020 https://sydneylivingmuseums.com.au/meroogal-womens-art-prize-2020
8 Layla Kristy Feghali is an educator working on decolonization, healing, and re-membrance of the original teachings and medicine of our indigenous ancestors with a focus on the SWANA (Middle East + North Africa) region. She originally coined the term ‘plancestor’ https://www.swanaancestralhub.org/what-does-plantcestor-mean
9 Article written by former SLM gardener Cheryl Scowen https://sydneylivingmuseums.com.au/stories/1920s-garden-revisited
