Deaf Indigenous Dance Group collection

This item contains digital portraits of Deaf Indigenous Dance Group (DIDG) members Aviu Ware, Elder Patricia Morris-Banjo, Marie Raimo, Shadrach Sales-Graham, Elder Clifford Johnson, Nathaniel Murray, Leslie Footscray, Joanne Samuel, Sue Frank, Amelia Street and Paul Norman.

The portraits themselves are the same or similar to the portraits used in the annotated artworks in Series 2.

This item contains digital photographs of Deaf Indigenous Dance Group (DIDG) members rehearsing in Cairns.

This item contains digital photographs of Deaf Indigenous Dance Group (DIDG) members at the Laura Quinkan Dance Festival, 2021.

This item contains digital photographs of Deaf Indigenous Dance Group (DIDG) members at NAIDOC Week celebrations, Cairns, 2021. Included are photographs of the group leading the NAIDOC parade and performing in Fogarty Park.

This item contains a portrait of Amelia Street annotated with text and a drawing in black and blue permanent markers.

Amelia is from Yarrabah. DIDG is important to Amelia. Amelia enjoys learning to dance. Dancing gives her peace and makes her feel good. It allows her to express her culture. It allows her to teach others what she has learnt. (partly paraphrased, from annotations)

This item contains a portrait of Aviu Ware annotated with text and drawings in black and coloured permanent markers.

Aviu Ware is of Aboriginal and Torres Strait Islander descent. Aviu's bloodline is from Mer/Murray Island, the Kabi Kabi Mob, the Goreng Goreng Mob from Gladstone and Bundaberg and the Ambrym and Tanna islands of Vanuatu.  Aviu's mob is Wug Island [Wug/St Pauls on Moa/Banks Island]. Aviu enjoys learning to dance. Aviu also enjoys church, diving underwater and gardening. (partly paraphrased, from annotations)

The drawings include the Torres Strait Islander flag, himself diving underwater to hunt sea creatures and Waiben/Thursday and Moa/Banks islands.

This item contains a portrait of Elder Clifford Johnson annotated with text in black and coloured permanent markers.

Clifford Johnson is an Aboriginal Elder. He is of the Waanyi and Yirriganyi Aboriginal clans. He is from Gimuy country. Being a DIDG member is important to him as it celebrates culture and enables him to act as a role model to pass down culture to younger generations. It encourages the deaf mob to build and maintain a strong sense of belonging and identity. (partly paraphrased, from annotations)

This item contains a portrait of Joanne Samuel annotated with text, drawings in black and coloured permanent markers as well as sections of colour photographs. 

Joanne Samuel is from Jervis Bay, [New South Wales] moving to Cairns in 2018. Joanne's father is an African native of Barbados Island. DIDG is important to Joanne. It makes her feel happy and is good for the children. Silver medal, snow skiing, World [Deaflympics] at Oslo, Norway, 1987. (partly paraphrased, from annotations)

The drawings include the flag of Barbados and dragon flies. Photographs of Joanne Samuel at the 1987 World [Deaflympics] at Oslo, Norway skiing and holding a stuffed toy in celebration of her silver medal are also attached to the portrait. The photographer of these photographs is unknown.

This item contains a portrait of Leslie Footscray annotated with text in black permanent marker.

Leslie Footscray is a Bamaga/New Mapoon man from the Northern Peninsula area. DIDG is important to Leslie. He enjoys dancing which makes him feel connected to his culture. It allows him to express his culture. It supports the deaf mob and brings it together. (partly paraphrased, from annotations)

This item contains a portrait of Marie Raimo annotated with text and drawings in black and coloured permanent markers.

Marie Raimo is from Papua New Guinea from the Hanuabada village. Marie moved to Cairns in 2018. DIDG is important to Marie. It allows her to connect and socialise with other people and learn to dance. It allows her to express herself and makes her feel proud of her culture. It allows her daughter Isobel to learn about her culture. (partly paraphrased, from annotations)

The drawings include the flag of Papua New Guinea. The borders of the portrait have also been illustrated with four different patterns, one for each side.

This item contains a portrait of Nathaniel Murray annotated with text and drawings in black permanent marker.

Nathaniel Murray is from Cairns. The annotations describe the Aboriginal Australian connection to the Great Barrier Reef.

The majority of the background contains detailed drawings including representations of sea creatures.

This item contains a portrait of Elder Patricia Morris-Banjo annotated with text in black permanent marker. The dress Patricia is wearing in the portrait has been coloured in with coloured permanent marker.

[Elder] Patricia Morris-Banjo belongs to the Ang-Gnarra People from Qu[i]nkan/Laura. DIDG is important to Patricia. Dancing makes her happy, helps her communicate and define her culture. DIDG allows different cultures to come together into one mixed nation. (partly paraphrased, from annotations)

This item contains a portrait of Shadrach Sales-Graham annotated with text and drawings in black permanent marker. The clothing Shadrach is wearing in the portrait has been coloured in with coloured permanent marker.

Shadrach Sales-Graham is a Wadja/Yungulu/Bakanambia/Kullilli man from Woorabinda. DIDG is important to Shadach. It is culture, who he is and shows he can dance. (partly paraphrased, from annotations)

Most of the borders and background is covered with drawings.

This item contains a portrait of Sue Frank annotated with text and drawings in black and colour permanent markers. Sue Frank is wearing a 'We support The Uluru Statement' T-shirt that has been coloured in with coloured permanent marker.

Sue Frank is a Wagadagam/Wakaid woman, a woman of Kala Lagaw Ya. Sue's totem is Koedal/Thupmul. Dancing makes Sue proud and connected to my mob and culture. The Deaf Community brings together both Aboriginal and Torres Strait Islander cultures. Sue started dancing at 2 years old. Sue's role model is her father. (partly paraphrased, from annotations)

The drawings includes flowers.

This item contains a portrait of Paul Norman annotated with text and drawings in black and colour permanent markers.

Paul Norman is a Wik man from [Pormpuraaw]. (partly paraphrased, from annotations)

Most of the background is covered with drawings including the front and tail of a crocodile.

This item contains a digital oral history of Deaf Indigenous Dance (DIDG) member Amelia Street.

Amelia Rose Street was born in Cairns and was placed with a white family at age 4. Amelia lived with her family in Cloncurry until age 17 when she left for Yarrabah, near Cairns. Amelia was encouraged to join DIDG and there has enjoyed forming new friendships and continued existing ones. Amelia was very nervous to start off with and found that dancing helped her walk having had trouble since breaking her leg. Amelia's first performance with the group was at Laura. The experience made her feel happy.

This item contains a digital oral history of Deaf Indigenous Dance (DIDG) member Aviu Ware.

Aviu Ware is from the St. Pauls area on Moa/Banks Island. Aviu's mother is Aboriginal and his father an islander. He has had experience dancing previously. Aviu was taught island dancing at age 10 by his Uncle Hans Samboa. He was later taught Aboriginal Australian dancing by his friend William Each from Gordonvale. He was a member of a dance group in Babinda and travelled with them for performances in the Atherton Tableland and in Brisbane. Aviu is proud to be a member of DIDG and is fond of his fellow dancers. He can hear and feel the vibration of the drums and didgeridoo and dances to the beat. Aviu has surprised family members on Waiben/Thursday Island that he can dance and is still dancing and has surprised members of the non-deaf community than deaf people can dance.

This item contains a digital oral history of Deaf Indigenous Dance (DIDG) member Elder Clifford Johnson.

Elder Clifford Johnson was born in Mount Isa in 1969. He has had previous dancing experience at Parramatta School, Parramatta Park, Cairns. Clifford joined DIDG in 1999. He enjoys dancing with other hard of hearing people and has made good friends with other DIDG members. He has travelled to Brisbane, Laura and Sydney with DIDG. He loves seeing young people getting involved with DIDG.

This item contains a digital oral history of Deaf Indigenous Dance (DIDG) member Joanne Samuel.

Joanne Samuel was born in Canterbury, Sydney and later moved to Blacktown, Sydney. Joanne's father had 3 jobs and life was hard. As a child Joanne enjoyed dancing and athletics. Joanne attended a school for the deaf in North Rocks and started to become depressed at around age 8. This was partly due to people's perceptions that because she was deaf, she was not bright. Joanne represented Australia in the 1987 Winter Deaflympics winning silver in the downhill alpine skiing on a damaged ski. Joanne worked for the Department of Sport and Recreation Sydney for about 27 years and loved her job. Joanne gave up her job following a car accident and became depressed as she couldn't find work. She moved to Cairns and has found happiness there. Joanne is learning a lot at DIDG and is finding she fits in there. She enjoys the culture, social life and community it brings and is keen to bring more young children into DIDG so that they can also enjoy similar experiences.  

This item contains a digital oral history of Deaf Indigenous Dance (DIDG) member Leslie Footscray.

Leslie Footscray was born in Bamaga in 1975. He went to school in Cairns. He lost his hearing as a child due to small rocks entering his ear. Leslie has since visited and/or lived in many places including Horn/[Narupai] Island, Bamaga, Moa/[Banks] Island, Weipa, Old Mapoon, Lockhart River, New Mapoon, Cairns and Mackay. He has enjoyed dancing at social occasions at a number of these but found that there was otherwise little interest from his family and friends in dancing there and little support for the deaf. He has also camped and hunted at several locations. Leslie returned to Cairns in 2022 and enjoys the support of Sue Frank and DIDG. Leslie sees DIDG as part of his family and enjoys the dancing and community DIDG provides. He would like to see better support for deaf children in the areas he has lived. Leslie enjoys being on country and hunting.

This item contains a digital oral history of Deaf Indigenous Dance (DIDG) member Marie Raimo.

Marie Raimo is from Papua New Guinea. She attended school in Sydney, Australia, for about a year aged 4-5 before returning to Papua New Guinea. As a child she was interested in dancing and danced till age 16 when she decided to pursue cricket and netball instead. Later she became interested in dancing again but was reluctant to perform. Marie graduated then went to work. Marie met Sue Frank at Deaf Services during a trip to Cairns in 2016. During 2017 she went back and forth between Papua New Guinea and Australia before moving to Cairns for good in 2018. Marie married in 2018 and had a daughter in 2019. She has been in Cairns 5 years now. Marie enjoys dancing with DIDG. Dancing with DIDG makes her happy and she has incorporated Papua New Guinean dancing, which is different to Torres Strait Islander dancing, into DIDG. Through DIDG and Deaf Services Marie has made friends, learnt a lot, received help and feels included. Marie is learning AUSLAN which is very different to sign language in Papua New Guinea. Marie finds that lacking interpreters at times can be a barrier to communication but notes that the situation is better than in Papua New Guinea where interpreters are not available. Marie believes DIDG is important for deaf children.

This item contains a digital oral history of Deaf Indigenous Dance (DIDG) member Nathaniel Murray.

Nathaniel Murray was born in Cairns in 1997. At age 18 he began dancing with the Police Citizens Youth Club (P.C.Y.C.). Following graduation at the P.C.Y.C. he continued dancing with children at the P.C.Y.C. He also does DJing. He joined DIDG age 17 and has been with them to this day. He loves movement and enjoys performing with DIDG. DIDG is important to Nathaniel both for himself and for his culture. Nathaniel learns dancing by watching others and is involved in designing the dance routines for DIDG. He works for a gardening and landscaping business where he involved with both gardening and excavation.

This item contains a digital oral history of Deaf Indigenous Dance (DIDG) member Nathaniel Murray.

Patricia Morris-Banjo is from Jowlbinna, 30 km outside of Laura. Her father John Henry 'Hank' Morris was a white man and owned the Quinken Hotel, Laura, while her mother was an Aboriginal Australian woman. Hank Morris was 60 years old when Patricia was born and abuse from her mother led her to be looked after by Percy and Beverley Trezise. Percy Trezise AM wrote a number of children's book, was deeply interested in Aboriginal Australian rock art and was friends with Aboriginal Australian artist Dick Roughsey from Mornington Island. Both Percy and Beverley had a deep interest in and respect for Aboriginal Australian people and culture and this oral history also reveals the life of Percy and his relationship with Dick Roughsey. At age 16, Patricia was given a teletex box which allowed her to understand what was being said on television. Patricia was taught AUSLAN and uses it as a communication tool but other than that has no connection to it unlike gestural Aboriginal Australian languages which were dying out in response to AUSLAN's introduction. Patricia loves dancing and Indigenous dancing is important to her.  DIDG allows her to express her culture. Patricia enjoys learning about other cultures and with Priscilla Seeden (founder of DIDG) thought deaf people from different cultures should come together in DIDG to show hearing people that the deaf can dance. Patricia was involved with DIDG at its founding and later around 2005-2006. The group took a break from dancing when Priscilla Seeden fell ill. Patricia is honouring Priscilla's final request to keep DIDG going. DIDG is important allowing those with hearing disabilities to express themselves and provides a community, a family, for the indigenous deaf, regardless of cultural background. It also provides members with opportunities to learn about their culture and their identity with deafness as the common thread.

This item contains a digital oral history of Deaf Indigenous Dance (DIDG) member Shadrach Sales-Graham.

Shadrach Sales-Graham is about 21 years old and is from Woorabinda, where his father was from. His family moved to Cairns for access to education for the hearing impaired and has now lived in Cairns for over 17 years and considers it a second home. Shadrach received a good education from his family and can use both Indigenous gestural languages as well as AUSLAN and because of this is often an interpreter between the two. Indigenous gestural languages are very different from AUSLAN and differ from people to people. Shadrach enjoys the deaf interacting with the deaf community in Cairns. He enjoy late nights socialising with the deaf community and has been involved with the Australian Deaf Rugby for 3 years and DIDG for 5. He has also completed various educational courses. He enjoys helping the Indigenous deaf communicate and believes young hearing impaired people should be educated well leaving it up to them which way they wish to communicate later and which world, the deaf or hearing, they would like to join.

This item contains a digital oral history of Deaf Indigenous Dance (DIDG) member Sue Frank.

Sue Frank was born in Tully but sees her home as Badu/[Mulgrave] Island. She currently works at Deaf Services and helped acquire government funding to aid the breakdown of communication barriers for the deaf in the Lockhart River region. Sue learnt an Indigenous gestural language age 7-8. In 1998 aged 17-18 she helped set up DIDG with the support of her family who ran a family business and has been involved with DIDG ever since.  DIDG is slowly growing and is a group for the Indigenous deaf and hearing impaired, members of the 'Deaf Mob', regardless of cultural background. DIDG helps provide culture and identity to the Indigenous deaf. Sue talks about the communication barriers for the Deaf Mob in remote communities, the struggle the Deaf Mob face in deciding on which world to join (the deaf or hearing) and Indigenous gestoril languages. Sue discusses in detail with Sean Davey plans for how to best use the photographs, artworks and oral histories in the project [contained within the State Library of Queensland collection Deaf Indigenous Dance Group collection] to maximum effect to benefit the growth of both DIDG and the wider Indigenous Deaf community.