Altyerre-Catholicism's sacred dancing ground

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How did the form of Catholicism adopted by the Mparntwe Arrernte people of Alice Springs Australia become what it is today? Catholicism was introduced by the Missionaries of the Sacred Heart (MSC) and the Daughters of Our Lady of the Sacred Heart (OLSH) from 1935, but the image of modern Catholicism practised by Mparntwe Arrernte Catholics varies in significant ways from what they were taught in the mission.

Section of stained glass window by Kathleen Kemarre Wallace in Alice SpringsThe meeting at Manaus of the Amazon River with its main tributary the Rio Negro, named because of its distinctively black water, presents a metaphor for the relationship between the two imaginaries Altyerre and the Cosmic Christ. When the rivers meet, they do not mix, but run parallel for six kilometres, maintaining their own character, because they move at different speeds, with different temperatures and different water density. Eventually they coalesce, mingling the life inherent in each, forming the Amazon, which supports more abundant life in its flood plain before flowing into the Atlantic Ocean. They can do this because they are both constituted of water, a fundamental requirement for life on our planet.

This image conjures the coalescence of the ancient Arrernte imaginary called Altyerre and the Judaeo-Christian imaginary inculcated by the missionaries. Each is constituted of a network of beliefs and practices, or imaginary, and at first sight the two imaginaries are quite distinct and cannot mingle. Yet they have come together. Each imaginary, I would argue, enhances the other.

Eaerlier this year, some members of the Catholic Church at the Synod of Bishops on the Amazon in Rome threw an Amazonian indigenous icon of a pregnant indigenous woman and other icons into the Tiber River. They severely criticised the Pope and his supporters for condoning the inclusion of pagan images within the Church, and issued a public statement: 'It is our duty to follow the words of God like our holy Mother did. There is no second way of salvation. Christus vincit, Christus regnat, Christus imperat. (Christ conquers, Christ rules, Christ governs all.)'

My image of the combining of the Rio Negro and the Amazon would clearly not be accepted by these extremist Catholics. But Pope Francis is right to honour the prior religious practises of the Amazonians, just as the Bishop of Darwin is supportive of a process that since 1935 in Central Australia has seen the development of Altyerre-Catholicism. Amazingly, almost on the same day the Amazonian Madonna was being thrown into the Tiber, in Alice Springs a remarkable stained-glass window painted by Arrernte artist Kathleen Kemarre Wallace was unveiled in the OLSH church.

The window represents an ancient Greek Icon of Mother and Child. The wonder of the symbolic form of the window is that it reflects the coalescence of the two streams of influence in the modern Mparntwe (Alice Springs) Arrernte imaginary — firstly, the continuing stream of ancient Altyerre consciousness of Mparntwe Arrernte Catholics, and second, the more contemporary stream of Judaeo-Catholic spirituality that was introduced by the Missionaries of the Sacred Heart and the Daughters of our Lady of the Sacred Heart.

Kathleen Kemarre is a child of both traditions. She is a vibrant repository of the ancient law passed to her from her arrenge/father's father, atyemeye/mother's father, her aperle/father's mother and ipmenhe/mother's mother, as evidenced in her book Listen Deeply, Let My Stories In. But as well she is a child of the dormitory at Ltyentye Apurte/Santa Teresa, where she learnt the foundations of 1950s and 60s Catholicism from the Daughters of Our Lady of the Sacred Heart.

 

"You do not need to be Arrernte to appreciate the symbolic story expressed in it — although it helps."

 

The painting is a sacred rendition of themes that belong to both traditions. This is certainly an Arrernte painting and expresses an Arrernte perspective, but it is no exaggeration to say that many more non-Arrernte will view this art work than will Arrernte. You do not need to be Arrernte to appreciate the symbolic story expressed in it — although it helps. Let me suggest that Arrernte viewers will see it as an image of menhenge atherre/mother and child (son) while non-Arrernte might recognise Madonna and Child.

What are the deeper themes from both traditions that the viewer might alert to? Because the window adorns the Church of Our Lady of the Sacred Heart there is no question that it reflects an image of the beating heart of both the mother of Jesus and of Jesus himself. This is the core of the spirituality of French priest Jules Chevalier, the founder of the Missionaries of the Sacred Heart and the Daughters of Our Lady of the Sacred Heart.

Perhaps the first thing that the viewer may ponder is the absence of facial details of the two figures. This is not because Kathleen Kemarre is not a skilful artist. Rather it is out of respect. Ikirrentye/respect is a fundamental Arrernte value. Kathleen Kemarre will not attempt to represent the physiognomic features of Mary and Jesus because she feels she could never — even with her consummate skill — do them justice.

But even more fundamentally Arrernte artists do not generally paint faces because faces represent the physicality of a person, not their utnenge/spirit, life. This is why there are warnings at the time of death of a significant person that a photograph of the deceased might appear in a news report. Arrernte know that it is not the body of a person that is important, it is their eternal spirit. To attempt to represent the person of Mary or Jesus would be to overlook their essential essence, their utnenge/spirit. 

Kathleen Kemarre may not be aware of the Hebrew scriptures' concept of rahamin, which translates as womb-compassion, yet she draws the eye of the viewer from the absent faces to the position of the head of the child directly in front of his mother's womb. While Sister Veronica Lawson, in her book the Blessing of Mercy,  points to this allusion as a way of seeing a feminine aspect of the Hebrew idea of 'God', it might be that Kathleen Kemarre is more alert to her Arrernte core concept of conception totemism.

Conception totemism describes how a child derives her spirit. When an Arrernte mother becomes aware of her pregnancy, she becomes aware of when and where she was conceived. She locates the apmere/country of that event and then deduces that it was from the utnenge/spirit of that apmere/country that the ampe akweke/child in her womb draws its utnenge/spirit. This is one of the ways a child is informed about her spiritual origins. There are others.

The relationship between a child and its arrenge/father's father or paternal grandfather is one of the most essential in establishing Arrernte identity known as aknganentye, meaning born from or originating in the creation. And the identity derived from mother's father/atyemeye or maternal grandfather is known as altyerre. So, this window is a rich source of stimulation to Arrernte viewers. It reminds them of who they are in the same way that Wenten Rubuntja's painting, in the vestibule of the OLSH Church, also does. And Wenten was explicit about aknganentye and altyerre when he offered the painting to Pope John Paul II in November 1986. Wenten said:

'That's the country line — the traditional place. Pmere aknganentye, that's the Dreaming story. A traditional painting from the time when people were rushing to meet the Holy Father from Rome. That's the Creation story, Dreamtime Aknganentye — Creation of the world ... This story comes from the Father of Heaven, who was living in the world here — that's the place that he is related to through Altyerre (Dreaming) ... (The painting) has all those things — body paint and song and all. This is a dancing ground. (The Church) was a dancing ground — now it's a big temple.'

Like Wenten's painting, this depiction alludes to the menhenge atherre/mother and son, the altyerre heritage of the child. Jesus is the child of a woman and draws his totem from her father, his atyemeye. This grounds Jesus in the earth. He is like all humans, a child of the universe, made of star stuff as we all are.

The next arresting image of the window is the embrace of the child by his mother. Nestled under her breasts, her arms enfold the child, intent on keeping him safe. This, along with the term menhenge atherre, alerts the viewer to a dominant feature of Arrernte culture, the kinship system/anpernirrentye. In Arrernte culture every single person is held in the web of kinship. There are no escapees. Anpernirrentye/kinship holds all Arrernte in a warm and consoling embrace. When an Arrernte person sees this image, she knows what it means. It means nurture, nourishment, consolation and life.

The Arrernte word for this is arntarntareme/holding/caring. It is such a powerful concept that there are some synonyms for arntarntareme. The Eastern and Central Arrernte to English Dictionary actually says arntarntareme means to look after someone or care for them. Another word is atnyerneme, for which the first example given in the dictionary is to hold a child and rock him to sleep. Another, antirrkweme, is given as 'holding hands'. What they all express is the human touch that characterises care and concern for the wellbeing of others. Arntarntareme means to reach out and hold, look after, nourish, save and nurture others. It might well be compared to womb compassion/rahamin!

Our gaze is transferred at last to the hands of Jesus. Here, in a symbol more resonant of western art, Kathleen Kemarre has streams of light gushing from Jesus' hands. Surely the image here is of the arntarntareme/holding, caring, looking after by both Jesus and his mother for the entire world and every person in it. The streaming light image reflects back to traditional Christian images of lifegiving water. The spirituality of the Sacred Heart of Chevalier is based, according to the MSC website, on a text from John's gospel: 'Out of the believer's heart shall flow rivers of living water.' Adding to the complexity of the images is the knowledge that kwatye/water is a common totem of many Arrernte families.

There is another way of 'seeing' the light streaming from the hands of the youthful Jesus. It is worth noting that the Arrernte have adopted the word Ngkarte as a word for what we might call 'God'. The original meaning of ngkarte was ceremonial leader. Arrernte ceremonies are based around many rituals some of which involve dance. A ngkarte is not a hereditary chief but a periodic leader in sacred ritual. Additionally, ngkartes are also often understood to be anangkeres/healers.

Margaret Kemarre Turner, in her book Iwenhe Tyerrtye: What it means to be an Aboriginal person, provides a glimpse of the work of youthful anangkeres/healers. She says: 'A grandfather might teach his grandsons to be singers of a special healing song. But the healing comes from our nature, you know, from the Land. That "electrolight" is just from that nature. Also they're born with it too, and the person who's got that electrolight nature, he can touch people around him. When that child is born, "Hey, that kid's gonna be this!" They know it straight away because he's got that "electrolight" of nature inside him.'

Notice the handing on of power through anpernirrentye from arrenge/grandfather to arrenge/grandson. Margaret Kemarre's 'electrolight' is her way of describing the healing power of the angangkere. Power to love, to forebear, to heal, to survive — all another way of understanding salvation or redemption, or indeed the incarnation — is understood as being provided by light streaming from the child's hands. It is through Jesus and Mary, ultimately from God, that Kathleen Kemarre might be offering an image of her Ngkarte/God in this painting.

The images just keep on collapsing into each other or coalescing into one all-encompassing and ambitious imaginary that might well be called Altyerre-Catholicism. Every time the congregation in the OLSH Church in Alice Springs sings and dances under the gaze of this exhilarating window the 'Father of Heaven' is dancing for joy, and Altyerre lives on in this sacred dancing ground.

 

 

Mike BowdenMike Bowden has worked as a teacher and community worker in Alice Springs and Aboriginal communities in the Top End. He is receiving a theology PhD from the University of Divinity in Adelaide in 6 December 2019, for this thesis exploring Aboriginal and Catholic spirituality, 'Searching Altyerre to Reveal the Cosmic Christ'.

Main image: Section of stained glass window by Kathleen Kemarre Wallace in Alice Springs

Topic tags: Mike Bowden, Aboriginal, Catholicism

 

 

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Existing comments

The care and skill of both Kathleen Kemarre's artwork and Mike Bowden's explanation of its symbolism are admirable. However, there is a significant difference between the stained-glass window displayed in the Our Lady of the Sacred Heart Church and the controverted inclusion of the statue in the recent Amazon Synod ritual: viz., the latter is more than a "mother and child" image; it is a representation of "Mama Pacha" (Earth Mother) worshipped - as Mary the Mother of God is not - by the indigenous people of the Andes. Many Amazonian Christians themselves have protested, regarding its use as idolatrous. This is obviously more than an issue of aesthetic taste: it goes to the heart and truth of who the God revealed in Jesus is, and its implications for both believers and non-believers.
John RD | 03 December 2019


May this stunning stained-glass window stimulate even deeper awareness of how God's personal, loving, living, creator Spirit has been, and continues to be, expressed by many people from their own cultural contexts. I yearn for this awareness to be deepened and sharpened by widespread dialogue between all of God's people, whether first nations or settlers in Australia or the Amazon. May the challenge and joy of this deeper Spirit connection lead to more ways of living and loving together, wherever we are on this fragile planet. Thanks to the many people who have contributed to this Altyerre-Catholic window story so far. Lets keep the story growing and uniting us all wherever we are in Alice Springs, Australia or the Amazon.
Chris Hawke | 03 December 2019


Now that's true universality - or in other words catholicism.
john frawley | 03 December 2019


I remember, when we came to Australia and lived in Armadale in South East Melbourne in the 1960s, Aboriginal people and their culture were all but invisible. At secondary school, one Jesuit, one Anglican, Aboriginal people were not mentioned. In 1966, my last year at a school founded by an Old Harrovian bishop in 1858, we had our first Aboriginal student. Bishop Perry had wanted Aboriginals to be admitted to his school, but he was overruled by the Western District squattocracy and Toorak toffs. There was a strong Neo-Darwinianism abroad in this country till fairly recently. It is interesting that Aboriginal culture has survived best in the more remote parts of this country, like the NT. I am familiar with Eastern Rite Catholic Churches, of which those of Kerala are probably culturally as far from Rome as you can get. Yet, despite the Art and Liturgy being different in form the content is very much the same. The concept of the Cosmic Christ was popularised by Matthew Fox, many of whose ideas were considered suspicious. Can Aboriginal or Amazonian culture be fully integrated into Christianity with respect for the original? How could this occur? There is no simple answer.
Edward Fido | 03 December 2019


A good question, Edward - and one whose formulation may provoke criticism from those who insist that non-Christian culture should be the primary reference point and "host". Though times have changed since the Apostolic Age, the issue you raise, as you know, is not without historical precedent in the Church's engagement with non-Christian culture. Both the Acts of the Apostles and the writings of the early Church Fathers - particularly Clement of Rome, Ignatius of Antioch, Justin Martyr, Irenaeus of Lyons and Clement of Alexandria - are, I believe, especially relevant, highlighting as they do the importance of the Apostolic tradition in the exercise of discernment, as well as endorsing aspects of pagan philosophy, moral insight and practices compatible with the divine revelation of a good and provident Creator-God and the Decalogue and beatitudes delivered for our guidance, flourishing and salvation.
John RD | 04 December 2019


I think it was and is Grace which has preserved Christian Truth throughout the generations, John RD. Something about Jesus, Peter and a rock. There is nothing wrong with Christianity being encultured. It is in Greece and Russia for instance, but it is still recognisable. I think there were/are Christian clergy and ancillaries (nuns etc.) who, sadly, are not anchored in the traditional Christian Faith. They feel it is 'not enough'. Jesus 'not enough'? You're kidding me. The late Anglican Bishop Stephen Neill, a lifetime missionary to India, co-authored a collection from the Hindu scriptures called 'Temple Bells'. But he was very clear much of Hinduism was not like Christianity. He loved India and Indians but had the power of religious discrimination.
Edward Fido | 04 December 2019


Great Thanks to Mike Bowden for taking the trouble to explain as well as demonstrate his cutting edge knowledge of Indigenous Spirituality and his illuminating filling in of the interstices between the thousands of years that lie between it and our own predominantly Greco-Roman formulations, themselves often light years removed from the Jewish tradition which spawned the Universal Christ. Thank you too, ES, for addressing a glaring gap in our Australian understanding of what happened recently in Rome by publishing this remarkable piece, and Pope Francis's righteous outrage at the "despicably culturally chauvinistic attitudes" of those fundamentalists who "desecrated the statues", which incidentally were the word the Pope used to express his sorrow at what happened. Among those who criticised the Pope were evangelical Indigenous Latin American pastors who quoted the "no graven images" texts that some in these columns have been so careful to avoid but on whose support they count in their fundamentalist tirades. One has to ask: in quoting Acts, where do they stand on Acts 4:32-33, which excoriates the holding of private property in favour of the communal? Where do they stand on this, bearing in mind the overbearingly anti-collectivist stand also revealed in their politics?
Michael Furtado | 05 December 2019


Are there unicorns on the Mosaic floor of St Mary's Cathedral's Crypt? Yes. Many people know the unicorn as a symbol of the New Age and New Age philosophies. To say that the unicorn is Christ seems almost sacrilegious. Yet in ages past it was not this way. We find the symbolism of the unicorn as Christ in many medieval writings, and even in writings from long before the medieval age. As early as the 4th century A.D., saints had been known to refer to Christ as a unicorn. Saint Ambrose, bishop of Milan (c. 340-397) said, "Who then is this unicorn but the only-begotten Son of God?" (Patrologia Latina). Saint Basil (c. 330-379) said, "[Christ] will be called the Son of unicorns, for as we have learned in Job, the unicorn is irresistible in might and unsubjected to man.... Christ is the power of God, therefore he is called the unicorn on the ground that He has one horn, that is, one common power with the Father." (Exegetic Homilies). All we need do is see all through God's eyes, not our own. And let Him be the judge.
AO | 05 December 2019


Actually, a statue representing a mother with her unborn baby still in her Womb, Mama Pacha ( Mother Earth) may be 'read' in a clearer way. It is amazing that the emotion “mercy” or “compassion,” “ra-cha-min,” (Hebrew) is derived from the name of the most motherly organ in the human body: the Womb, “re-chem.” This is where the strongest connection of compassion and love are bonded between the mother and the baby, respectively. Men may need to learn this, but if you are a mother, no further words are necessary; you have experienced this compassion first hand.
AO | 06 December 2019


Mike Bowden has walked with Arrernte people for over 40 years. He has so much to teach Church leaders. Congratulations on the PhD - what a gift to the Church in Australia.
Helen Parer | 07 December 2019


Congratulations Michael on a thoughtful and well researched article re "Altyerre-Catholicism's sacred dancing ground" So much of our present form of Catholicism has it's roots in Hebrew and Roman cultural expressions and beliefs. The "Word of God" cannot be limited to one tradition, we can't assume that our God's presence and message was made manifest in one place at one time. The Judeo Christian model has been accepted by most modern Christians but what about the ways that this supreme being was revealed to and revered by much more ancient cultures and civilizations especially here in Australia over the past 60,000 years? I believe that the issues raised in your article are a real challenge to those who are seeking to develop a genuine Australian spirituality. Thank you! Congratulations also to the Bishop and the Alice Springs community for enshrining this reminder of the richness of such a blending of belief and culture, Michael Schell Michael, congratulations on such a fine and well researched article.
michael schell | 08 December 2019


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