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When I first arrived in the Yolngu township of Galiwin’ku to undertake fieldwork for my doctoral thesis at the University of Melbourne and the Ecole des Hautes Etudes en Sciences Sociales, almost a decade ago to the day, a particular research question had been on my mind for some time. Over the past few years, I had been keenly following the development in Aboriginal Australia of several exciting projects making use of digital technologies – such as the Central Australian Ara Irititja interactive archive1 or Barbara Glowczewski’s Dream Trackers’ CD-ROM conceived with Warlpiri artists from Lajamanu (Unesco Publishing, 2000). Considering the secret-laden nature of Australian indigenous religions and the complex revelatory system that still governs access to knowledge in many parts of the continent, I was particularly intrigued by the ways in which the proliferation of new media may affect the status, circulation and perception of ritual images in contemporary Yolngu society. My ethnography focused on the activities of a newly established community organization called the Galiwin’ku Indigenous Knowledge Centre (GIKC), a pilot program which had just received seed funding from the Northern Territory government to develop its own “Yolngu friendly” digital archive. In a region that had been visited by a continuous string of researchers and collectors since missionary settlement in the 1920s, it had been a long time vision of many North-East Arnhem Land clan leaders to see their fore [...]

Remediating sacred imagery on screens: Yolngu experiments with new media technology