Mokare and Captain Collet Barker
Our impression of life with the Aborigines at the garrison prior to the arrival of Captain Collet Barker can be compared to Scott Nind’s watercolours. From them we get a sense of place and time, but the landscapes Nind painted are unpeopled and vacant. In contrast, from the opening entry of Barker’s journal the story of day to day activity at the garrison explodes into life. In an instant we’re dropped smack-bang into the middle of a busy and highly unusual cross-cultural affair.
Above: Another of Scot Nind’s technically accomplished watercolours from garrison era Albany. This view looks south-west from the lower slopes of Mount Clarence over the garrison and its cultivated surrounds to the harbour and Torndirrup National Park beyond. Image; View of Frederick Town, King Georges Sound, at the expiration of the first year of its settlement, Feby 7th 1828. Courtesy, Mitchell, Library, State Library of New South Wales.
Mokare- His character and influence
Above: Louis de-Sainson’s Albany Aborigines sketched in October 1826, coloured and printed 1833. The images are of Mokare (bottom right); Patyet, thought to be Nakinah (bottom left); and young brother Yallapoli with the brothers’ father, also named Patyet (middle). The two men at the top are unidentified but likely to be close relatives, possibly Mokare’s close cousins, half brothers or uncles Coolbun and Dr Uredale. Image courtesy Trove Unique identifier here:
Apart from confidence and his willingness to connect, what do we really know of Mokare’s character and influence among the Menang?
The best the archives can give comes from the personal writing of three people; Dr Isaac Scot Nind, Captain Collett Barker and Dr Alexander Collie. Prior to that it is the official despatches of the military which tell a more limited story.
Mokare: 1800 – 1831
Not since the time of Mokare has there been more future driven anxiety facing the South Coast’s Indigenous.
As final deliberation on the Single Noongar Claim looms, Western Australia’s South-Western Aborigines face acceptance of the decades long Native Title case against the Government of Australia, an issue as much rooted in the story of Mokare and first contact at King George’s Sound as with Midgegooroo and Yagan at Perth.
This post comes as response to the Noongar artefact exhibition Yurlmun: Mokare Mia Boodja at the West Australian Museum, Albany, a co-incidental display which ties physical objects from Mokare’s time to the resolution of an approaching two-hundred year ordeal.
Sponsored by the British Museum, the exhibition runs from Wednesday, 2nd Nov, 2016 to Sunday, 9th April, 2017.
The exhibition title translates as Returning: Mokare’s Home Country, words of such symbolic magnitude they render the artefacts transcendent. As if possessed by Dreamtime elements, these original spears, spear throwers, axes, hammers and boomerangs come as direct representation from a time long past; the era of the military garrison.