Acknowledgements

Assembling this book has been a decade-long labour of love. It would have been impossible without the help of family and friends.

We acknowledge the Dhalwaŋu mala and the Marraŋu mala together with other family, including Fiona Yangathu, Micky Dhambarra, Alison Gaḏayurr, Jessica Muthanhdhani, Trudie Garrumara, Gwenda Minganawuy, Sebastian Warruṉgu, Katrina Dharraganmartji, Carmen Ḻirrayunmarrtja, Lindsay Ḻopurru, Joyce Waḻikur, George Ḻuḻparr Alfred Yaŋgipuy, Carol Räminy, Andrew Banambi 2, Angeline Merrki-yawuy, Shadrick Dhawa, Georgina Warrangu, Renelle Barraḏakanbuy, Curtis Dhambali Wunuŋmurra, Mike Yamitjawuy Wunuŋmurra, David Wäpit Munuŋgurr, Lynne Wunuŋmurra, Shannadom Mayalmuŋu, Shirley Nirrpuranydji, Susan Marrawaka’mirr, Davis Marrawuŋgu, Dorothy Bamundurruwuy Dorothy Dhäparrawuy, Rowena Laypu, Samantha Yawulwuy, Natasha Ŋumbagawuy, Jacko Yipula, Antonio Daypulu, Alicia Burns, Gary Burns, Xena Waṉambi, Wesley Bandipandi, Helen Wilinydja, Joseph Yambaḻpurra, Richard Bulupal, Rose Waṉambi, Ṉuŋgapan 1, Johnny Djeliwuy, Alfred Galaŋarawuy 2, Sharon and Alfred Wunuŋmurra and David Mackenzie. We acknowledge the generous contributions of all the artists and families who gave image permissions of their family and lost loved ones with future generations in mind. Cynthia Walaṉḏika and Dennis Rräŋga provided additional research. Gäwura Waṉambi kindly consulted on the final manuscript. Marrkapmirr mala [dear ones].

Gapuwiyak Culture and Arts Aboriginal Corporation has been a home for Miyarrka Media from its inception; we gratefully acknowledge all the Yolŋu directors and staff over the years, and especially managers Silke Roth and Trevor van Weeren. We sincerely thank Diana Young, Director of the University of Queensland’s Anthropology Museum, with whom we developed the Gapuwiyak Calling exhibition, along with the the UQ team of Charla Strelan, Camella Hardjo, Kiri Chan and Jane Willcock. We are grateful also to Ruth Cohen and Dominic Davis who opened the doors at American Museum of Natural History, Santiago Carrasquilla who led the design and installation in New York, and Faye Ginsburg whose support made this exhibition — and so much more — possible.  Thanks also to Kerim Friedman and Gabriele de Seta for hosting our work in Taiwan for the Sensefield exhibition; and Vanessa Bartlett and Jill Bennett for commissioning the interactive touchscreen, Warwuyun, for the Group Therapy exhibition at UNSW Galleries. Special thanks to Oliver Warrwada Lanzenberg for cinematography on Ringtone. These collaborations all shaped this book.

Melinda Hinkson, Faye Ginsburg, Diana Young, Josh Bell, Haidy Geismar, Chris Wright, Fred Myers, Michael Christie and Evan Wyatt have been exceptional friends to this project throughout its many iterations. Thank you. Nick Walton-Healey and Ton Otto provided incisive readings at crucial moments. We are in your debt. Jenny Lalor offered much-needed legal advice. Thanks so much. Warm thanks also to Howard Morphy, Frances Morphy, Jessica De Largy Healy, Lucas Bessire, Juan Francisco Salazar, Heather Horst, David Howes, Jacqueline Hazen, Cathy Greenhaugh, Christian Suhr, Andrew Irving, John Moran, Heather Swanson, Annette Markham, John von Sturmer, Jovan Maud, Richard Sherwin, Kirin Narayan, Ken George, Anna Tsing, Lisa Stefanoff, Jane Lydon, Deb Fisher, Suzanne Gibson, Mel Flanagan, Rhonda Black, Alison Leitch, Jennifer Biddle, Kym Druitt, Tony Dowmunt, Joseph Bell, Wade Jaffery, Nola Alloway, Lars Skalman, Matthew Gingold and Jos Diaz Contreras. Will Owen, you are much missed. Jane Sloan, you are a remarkable editor and friend.

The Cairns Institute at James Cook University has been a welcoming and super supportive institutional home to Miyarrka Media. Special thanks to Stewart Lockie. Big thanks also to JCU’s Bradley Smith who supported the idea of this kind of collective authorship, especially when others advised against it as a poor academic career strategy.

Sarah Kember, Adriana Cloud, Michelle Lo, and Ellen Parnavelas at Goldsmiths Press—thank you for taking up our little book with such enthusiasm. Santiago Carrasquilla and Eugene Lee at Art Camp—you lent your own gakal, mulkurr and ŋayaŋu to the mix. How did we get so lucky?

Since the publication of the print version of Phone & Spear, many others have lent fresh energy to this work of dhäkay-ŋänhawuy rom. Special thanks to Melinda Hinkson at The Institute of Postcolonial Studies in Melbourne. Thanks also to the team from Distribute 2020, and especially Victoria Baskin Coffey and Sebastian Lowe from Otis Makers, who helped remix this book into a short film, adding colour, pattern and extra zest to gamunuŋgu, some of which now live on in this online version. Steve Feld has been a fantastic interlocutor, pointing to new connections that help to extend and amplify the things we care about. Likewise, Zeynep Gürsel has proven the most receptive (and perceptive) reader a mob from Arnhem Land could ever hope for. Marrkapmirr mala.

Allison Vanouse and Catherine Ahearn from MIT’s Knowledge Futures Group have been the best of collaborators as we made this transition back to the screen: open, responsive, creative and extremely patient, when necessary. Thank you for enabling this lastest work of remix.

Marrkapmirr mala.

We gratefully acknowledge funding support from Australian Research Council grants DP0877085 and FT110100587, UNSW Art and Design, Arts NT, The Cairns Institute and the College of Arts, Society and Education, James Cook University.