We collaborate, partner and align ourselves with those that share our vision in celebrating Indigenous bush foods, Australian and Indigenous artisan products.
We work collaboratively with every grower, gallery and Indigenous business we are connected with. We work together that is mutually beneficial and rewarding. We are proud to maintain the strong relationships we have developed and bring their products into the homes of Australians and the world.
Gulbarn is an 100% Indigenous-owned business.
Alawa people have been harvesting Gulbarn for thousands of years, using it as a traditional bush medicine for healing colds, coughs and stomach aches. Traditionally, it is brewed for drinking, inhaling or bathing in and is still used on Country today when adults and children are sick and to help improve immunity.
Our Founder Samara Billy launched the Gulbarn tea business in 2015 with a stall at Barunga Festival.
Samara has lived in Minyerri all of her life and, as well as being a natural entrepreneur, she is a keen and talented photographer. She is passionate about creating opportunities for the young people in Minyerri including her three daughters Jayzena, Ashlene and Letty.
Gulbarn has always been a family operation, with Samara supported by a big team of family members who assist with a variety of tasks including harvesting, operations and marketing. Any Gulbarn profit distributions are determined by the community.
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Tjanpi Desert Weavers
Tjanpi Desert Weavers is a social enterprise of the Ngaanyatjarra Pitjantjatjara Yankunytjatjara (NPY) Women’s Council, working with women in the remote Central and Western desert regions who earn an income from contemporary fibre art. Tjanpi (meaning grass in Pitjantjatjara language) represents over 400 Anangu/Yarnangu women artists from 26 remote communities on the NPY lands.
Tjanpi artists use native grasses to make spectacular contemporary fibre art, weaving beautiful baskets and sculptures and displaying endless creativity and inventiveness. Originally developing from the traditional practice of making manguri rings, working with fibre in this way has become a fundamental part of Central and Western desert culture.
Tjanpi embodies the energies and rhythms of Country, culture and community. The shared stories, skills and experiences of this wide-reaching network of mothers, daughters, aunties, sisters and grandmothers form the bloodline of the desert weaving phenomenon and have fuelled Tjanpi’s rich history of collaborative practice.
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Established in 2019, Numbulwar’s first art centre is 100 per cent owned and controlled by the community. Born from the community’s desire to practice and engage with traditional culture, NNA is a space for artistic and cultural expression.
Champions of fibre art, NNA artists marry naturally-dyed and locally-harvested pandanus with bright and bold ghost nets, abandoned fishing line retrieved from Numbulwar’s shoreline. Our Wulbung (baskets) and Yir (dillybags) fit as naturally in traditional applications as they do in contemporary, urban environments.
Numbulwar sits on the Rose River and belongs to the Nunggayinbala clan, one of the Wubuy or Nunggubuyu speaking clans from the region. Ceremonial activities are still very important within the region and occur regularly.
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Ninuku Arts was founded in 2006 by a small group of Pitjantjatjara and Ngaanyatjarra artists in a small mud-brick building in Kalka Community, located in the far northwest corner of South Australia. Currently, the art centre supports a rotating roster of close to forty artists and makers living in both Kalka and Pipalyatjara, which are the most remote communities of the Anangu Pitjantjatjara Yankunytjatjara (APY) Lands.
Artists come to work on a near daily basis and the studio is the social and cultural beating heart of both communities. It is a place not only to sit and work alongside family, but to gossip and share stories of near and distant past.
Over the course of the last decade the art centre has exhibited work nationally and internationally, becoming known for its powerful colour palettes as well as the diversity of styles, techniques, and mediums of each artist. Whilst the origins of Ninuku’s creative output lay in the traditions of Western Desert dot painting, artists have grown over time to incorporate loose brush techniques as well as tjanpi (grass) and punu (wood) sculpture into their practices.
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