This week Karla Grant speaks to Art Gallery of New South Wales Curator, Natalie Wilson.

Wilson talks about Australian painter Sidney Nolan and photographer Axel Poignant, who's inspirations not only came from the continent of Australia, but also its Indigenous population.

"In 1949 (Nolan) made his first trip to the Northern territory. Just prior to that he had met Axel Poignant who was a photographer. Axel had also travelled widely in the NT and the two of them met and discussed the views they had of Australia and of Aboriginal life", Wilson tells Karla.

However it wasn't until the early 60's till when the pair joined artistic forces to help the production of Stravinsky's ballet, The Right of Spring.

Travelling to Indigenous communities was a life changing experience for both of these artists, giving them a better understanding of the Aboriginal way of life. In fact, most, if not all the costumes in The Right of Spring were inspired by the culture and vibrancy of Indigenous life in Australia

Transcript

KG: Indigenous people from Arnhem Land in the Northern Territory were a source of great inspiration for photographer Axel Poignant and painter Sidney Nolan. In fact, they combined their talents in creating sets and designs for the production of Stravinsky's ballet 'The Rite of Spring'. This achievement was the subject of a recent exhibition at the Art Gallery of New South Wales and will be seen at the State Library of Queensland from June 13 to August 31. I went along to find out more.

Reporter: Indigenous Connections is the culmination of work between two artists - photographer Axel Poignant and painter Sidney Nolan.

Natalie Wilson, Assistant Curator - Australian Art AGNSW: Sidney Nolan is probably best known for his paintings of Ned Kelly and he was very inspired by the continent of Australia. And he travelled very often around Australia and in 1949 he made his first trip to the Northern Territory. Just prior to that he had met Axel Poignant, who was a photographer and Axel had also travelled widely in the Northern Territory. And the two of them met and discussed the views they had of Australia and of Aboriginal life. He and Poignant both shared the view that there was quite an endemic racist attitude throughout the Northern Territory and they were certainly - had strong views about what was going on at that time.

Reporter: In 1952, Poignant visited Arnhem Land and lived with a community near Maningrida for six weeks, taking over 2,000 photographs which then became inspiration for Sidney Nolan's sets and designs for Stravinsky's ballet 'The Rite of Spring'.

Natalie Wilson: Sidney was in London at the time, in 1962, when he was commissioned by the Royal Ballet to produce the sets and the costumes for Stravinsky's 'Rite of Spring'. And Axel was also in London at the same time, so he borrowed a selection of about 100 photographs and took them to the Royal Ballet. And they decided that these wonderful photographs were a fantastic source of inspiration and would be hopefully a way through to break through the traditions of modern ballet.

Reporter: Many of the works illustrate a wonderful parallel between a classical ballet and Australian Indigenous culture and traditions.

Natalie Wilson: When Axel Poignant went to Arnhem Land, he spent four weeks on South Goulburn Island preparing for his trip to Nagalarramba, where he spent six weeks, and while he was there he witnessed this particular dance called Mirrijpu, which means 'seagull'. This particular image was one of great inspiration to Nolan and he used it as a leaping point to start creating some of his designs for the costumes for 'The Rite of Spring'. This photograph was taken after Axel's stay at Nagalarramba and he went to Milingimbi and there he witnessed another ceremony whereby a group of these three young men were painted with imprints of hand prints. And these body designs as well, especially the imprint of the hand, were also a great source for Nolan for the costumes for 'The Rite of Spring'.

Reporter: As Poignant was leaving the community, he was given a parting gift.

Natalie Wilson: Members of another group who were neighbours of the clan he was staying with decided that he should be presented with a Rom ceremony dance, so for three days just before his departure the Rom ceremony took place and he was presented with a Rom pole, which was something of great significance because a white man had never been presented with such an honour and the Rom dance is a dance of friendship and trade and welcoming, basically giving him almost access to go back and visit them when he liked.

Reporter: Travelling to Indigenous communities was a rich and rewarding experience for both of these artists, giving them a better understanding of the Aboriginal way of life.

Natalie Wilson: For Poignant, spending those six weeks in Arnhem Land, that obviously opened his eyes to further exploration around Australia and the Pacific. And for Nolan it was, I guess, a way of exploring for himself a different aspect of the continent of Australia. He did see himself as an Australian artist wanting to bring to the world not only the landscape but the spirituality of the land.