Aga a tagata muamua i taulaga: aisea e faatauaina ai?

Designers of the University of Technology, Sydney's National First Nations College aspire to make it a place of connection with Country. Credit: Greenaway Architects, Warren and Mahoney, OCULUS

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O aga atunu'u e faasino tonu iai le tupu'aga ma faiga faatino i aso ta'itasi a tagata muamua i Ausetalia. O le si'osi'omaga o loo tatou ola ma faalagolago iai, e faitau afe tausaga o aumau ma soifua ai tagata muamua i Ausetalia nei, ma e taua tele lo latou so'otaga ma meaola ma la'au. O le a se fautuaga i tagata tusiata o fale ma matagaluega o le malo i auala e faaaogaina ai le silafia ma soifuaga o tagata muamua i le tusia o ata o fale i tauslaga i Ausetalia?

Key Points

E le o se faai'uga sa'o ma talafeagai le manatu e tutusa uma tagata muamua i Ausetalia. E leai.
Ua iai se suiga i le va'ai i auala e fuafuaina ai itu'aiga fale e fausia i taulaga tetele i Ausetalia e atagia ai mamanu a tagata muamua.
O ata e tusia ma le amana'iaina o mamanu ma le silafia o tagata muamua, e amata mai i le fuafuaga o se fale se'ia o'o i le taimi e fausia ma fa'aaogaina ai.

O le pule i vaega uma e faaalia ai tu ma aganu'u a tagata muamua, e puipuia i lalo o aiaiga a malo aufaatasi i aia tatau a tagata muamua

United Nations Declaration on the Rights of Indigenous Peoples

I tausaga e le'i mamao atu nei, ua tele galuega i le faavaeina o alafua i aiaiga o le faaaogaina o meatotino faa-aganu'u

protocols that set standards in creative practices

i galuega tusiata ma isi mamanu a tagata muamua.

Ae faapefea ona iloa ma faaalia le poto ma faiga faaauau o tu ma aganu'u a tagata muamua i fale ma nofoaga faitele?

Na matou fesiligia ni tagata muamua ma nisi i le atunuu i so latou silafia i le faaaogaina o le poto o tagata muamua i le tusia ma le fausia o fale i nofoaga faitele.

Designing with Country, relationality, and cultural continuity in mind recognises that each place in Australia carries distinct history spanning tens of thousands of years. Here, wildflowers are seen in Karijini National Park in WA. Source: Getty / TED MEAD

O Professor Brian Martin e tupuga mai tagata Bundjalung, Muruwari ma Kamilaroi i New South Wales.

O ia ma nisi na tusia le ta'iala

International Indigenous Design Charter

, e limata'ita'ina ai le tusia o ata o fale ma le amana'iaina o tu ma aganu'u a tagata muamua.

Na ia faamatalaina, soo se galuega lava, pe o se fale, se malae faitele, se ata e vali i le puipui poo se pa, e tatau ona atagia ai tu ma aganu'u a tagata muamua mai ia fanua ma 'ele'ele.

All knowledge comes from place.
Professor Brian Martin, co-author International Indigenous Design Charter

“And that's why best practise protocols are about looking at Traditional owners of that location and what knowledge… relates to that particular place and Country.”

O mamanu ma ata e faalagolago i tu ma aga e patino i ia fanua, ae le o le atunu'u atoa, ona e le ta-tutusa uma tu ma aganu'u a tagata muamua i Ausetalia atoa.

“The idea of homogenising ignores things that are locally specific. For example, the Boonwurrung Country in Victoria is very different to Kamilaroi in New South Wales, to Bidjara in Queensland or Noongar in Perth,” na saunoa ai Prof Martin.

O le manatu foi lea o Jefa Greenaway. O ia o se tagata muamua e galue o se tusiata fale se architect, ma e afua mai i tagata Wailwan/Kamilaroi ma Dharawal i NSW, ae o loo aumau nei ma galue i Vitoria.

Na saunoa Greenaway o le amana'iaina o le 'ese'esega o tu ma aga'ifanua a tagata muamua, o "se avanoa e lagolagoina ai le leo moni o tagata mai 'ele'ele 'ese'ese".

“It supports the idea of design equity... Invariably, First Nations people haven't necessarily had a seat at the table to engage within major built form projects.”

Jefa Greenaway: “We know across this vast island continent that there are over 270 distinct language groups and 600 dialects.” Credit: Aaron Puls

O mamanu ma ata e patino i se fanua ma se 'ele'ele e mamao atu lona taua, ona e faailoaina ai so'otaga faaletagata, tu ma aga, talitonuga mamana ma le gagana.

A e savali i le malae ma lotoa o le Univesite o Melbourne, e te molimauina ai se faata'ita'iga o fale na tusia ata ma fausia ma le amana'iaina o tagata muamua e ona ia 'ele'ele, e feso'ota'i ai le Central Business District (CBD) i Swanston Street.

Na faaalia e Greenaway, o se tasi na ta'ita'ia le galuega, mai lava i le amataga, na galulue faatasi ai ma tagata muamua e patino so'otaga ma ia 'ele'ele, ma e aofia ai alavai i le 60,000 tausaga ua tuana'i na feoa'i ai tunavai aga'i i le Birrarung (Yarra River) e tu'ufua ma fananau ai.

It recasts an understanding that we're building upon a legacy of 67,000 years of continuous connection to this place.
Jefa Greenaway, Greenaway Architects

Na faaalia e Greenaway o le ata ua toe fafagu ma faaauau ai tu ma aganu'u a tagata muamua o ia 'ele'ele.

A University of Melbourne built project recreating the eels’ migration path from water to land, is a metaphor for Indigenous resilience, says architect Jefa Greenaway. Credit: Peter Bennetts

Na saunoa Prof Martin, o le so'otaga, le 'relationality' o se vaega taua i le amana'iaina o tagata muamua i le tusia o ata ma le fausia i fale i nofoaga faitele.

“Relationships are built around the time of the project, whether it be a research project or a design project.

“Be it an architectural firm or government body or practitioners themselves, they still need to build the relationality with people and place.”

O le tama'ita'i o Desiree Hernandez Ibinarriaga, e afua mai Mexico ma e tupuga mai i tagata Mayan, Aztec ma Basque. O loo faia'oga nei o ia i le Univesite o Monash i le Department of Design.

I le taimi o ana su'esu'ega mo lona faailoga Phd, na latou galulue faatasi ai ma tama'ita'i tagata muamua i Ausetalia ma Mexico. Na ia faavaeina ai se poloketi mo le faaaogaina o le poto ma le silafia o tagata muamua i le tusia o ata ma fuafuaina o fale ma nofoaga faitele.

The sense of cultural identity is integral to Indigenous design methodologies, says Dr Ibinarriaga. “In design we focus on problem-solving and so [in Country-led design] it becomes essential to look locally, harnessing our surroundings.” Credit: Desiree Hernandez Ibinarriaga

“It took me eight months to build a relationship and be accepted by the girls, the teachers and the school staff.”

“Country is the place we exist in; I call it 'Tonantsintlalli', that means Mother Earth in my ancestors’ language, in Nahuatl,” Dr Ibinarriaga says.

“In Indigenous methodologies we centre [design around] Country, the land, the skies, the waters that we live in.

"But also, relationality, that is the relationships that we have with the material and immaterial.”

Where Eels Lie Down by Kamilaroi artist Reko Rennie is one of the features referencing Country in Parramatta Square.

O Olivia Hyde le faatonu o le Design Excellence i le malo setete o NSW.

O ia ma se tasi tusiata fale se architect o se tagata muamua, Dillon Kombumerri, o se tagata Yugambeh mai le Gold Coast i Queensland, na faavaeina le

Connecting with Country Framework

“It's for Aboriginal communities to use on their projects to champion the outcomes that they would like to see there,” Ms Hyde says.

“It's for local government agencies to encourage them to engage appropriately and respectfully with Aboriginal communities on the projects that they're looking after.

It's also for architects and other built environment designers and developers to ensure that the projects that they are delivering are creating healthy Country outcomes.”

I le 5 tausaga o le poloketi, ua amata ona molimauina nisi o fale ma nofoaga ua fausia ma le amana'iaina o tu ma aga a tagata muamua, e pei o le Parramatta square.

“It was designed with Dharug cultural knowledge holders right from the outset,” Ms Hyde explains.

“So, there was a very embedded process working with community in the development of the plans for the square.”

Country-led design reasserts the primacy of the place where an infrastructure project is situated. The Waratah flower, found across southeastern Australia is the protagonist of a Dreamtime story explaining its red colour. Here, a Waratah flower light installation during Vivid Light 2017 in Sydney. Credit: Manfred Gottschalk/Getty Images

Na saunoa Prof Martin -

I've got the experience of being approached near the end of tendered processes, where it's like ‘Oh, we've got to include an Indigenous person.’
Professor Brian Martin, co-author International Indigenous Design Charter

“What gets missing in that narrative is it's not Indigenous-led.

“You end up with something that does not integrate the fabric of Country within the process and then within the finished building, product, whatever it may be.”

E pei o le Parramatta square, na faaalia e Ms Hyde, o loo atagia ai i le mamanu ma ata le faitau afe o tausaga na nofoia ai ma aumau ai tagata muamua i le Dharug i 'auvai o le vaitafe ma 'ele'ele.

“It talks to the long-term inhabitation and cultural importance of this place for Aboriginal people.

“But it's also about recognising that culture goes on and it's living and it's forever.

“And so, it's making sure that living cultural practises can be kept alive and celebrated and are open to everyone, but also specific people where that’s appropriate.”