Aboriginals push back on abusers of Welcome to Country ceremony

                The meme that accompanied “Central Poster’s” complaint on X.

By MICHAEL SLOVANOS
AT a recent “Welcome to Country” lecture at a Sydney AFL semi-final, an indigenous “cultural educator” named Brendan Kerin made the offensive and ridiculous claim that the ceremony was not designed for white people and it had been running for 250,000 years before James Cook.

“Uncle Brendan’s” little lecture did not go down well with a lot of people, including indigenous leaders like Senator Jacinta Nampijimpa Price and former Labor Party figure Warren Mundine, who told Sky News “he’s just made stuff up, let’s be honest”.

Mundine rejected Pauline Hanson’s call for footy crowds to turn their backs on the ceremonies, saying it would only create more division. He wants the ceremonies to focus on a true welcome, bringing people together and not dividing them.

But Uncle Brendan was unrepentant and doubled down on NITV saying people were talking “absolute ignorance and stupidity” over what he was saying. Uncle Brendan was obviously trying to defend the indefensible – a condescending lecture that was clearly stupid and ignorant, as well as insulting.

A man using the handle “Central Poster” and identifying himself as Aboriginal posted a lengthy and thoughtful statement on X defending the ceremony in its traditional sense but criticising its modern adaptation:

“As an Aboriginal Australian Man, I find myself increasingly disillusioned with what the Welcome to Country has become—a far cry from its ancient roots, bastardized by modern interpretations for public consumption. The ritual, once about genuine respect between mobs, has been co-opted into a performative act, partly due to the actions of figures like Marcia Langton in 1973 and later Ernie Dingo and Richard Wally in 1976.

“Marcia Langton’s involvement at the Aquarius Festival in Nimbin introduced this rite to a non-Indigenous audience in a way that set a precedent for its misuse. What was intended as a bridge between cultures has morphed into a mandatory ritual, stripping it of its original depth and reverence.

“Ernie Dingo and Richard Wally, in their attempt to incorporate this tradition into the Perth International Arts Festival, arguably missed the mark. Their version, while well-intentioned, transformed a sacred Aboriginal practice into something performative, aimed at appeasing rather than respecting.

“This event, rather than fostering genuine cultural exchange, began the trend of using the Welcome to Country as a token gesture, often devoid of true understanding or connection. These acts have led to a widespread adoption where the ceremony becomes less about genuine welcome and more about symbolic acknowledgment, often by those who have little understanding of its deeper meaning.

“This isn’t just about cultural appropriation; it’s about the dilution of what was a profound ritual into something superficial, often used to tick a box for inclusivity without engaging with the culture’s essence. Australia’s journey towards reconciliation and unity shouldn’t be paved with hollow gestures.

“The Welcome to Country, in its current form, is a symbol of division rather than unity, making non-Indigenous Australians feel alienated rather than included. If we’re to move forward, we need to critically assess how these rituals are used. Let’s engage together in our collective Australian culture in ways that educate, involve, and truly respect one another, rather than just perform and appease.

“Let’s not let our sacred rituals be reduced to a script read without heart, but instead, let them be lived experiences in the outback that educate and unite all Australians in a shared understanding and respect for this land’s heritage.”

As an Aboriginal Australian Man, I find myself increasingly disillusioned with what the Welcome to Country has become—a far cry from its ancient roots, bastardized by modern interpretations for public consumption. The ritual, once about genuine respect between mobs, has been co-opted into a performative act, partly due to the actions of figures like Marcia Langton in 1973 and later Ernie Dingo and Richard Wally in 1976.

Marcia Langton’s involvement at the Aquarius Festival in Nimbin introduced this rite to a non-Indigenous audience in a way that set a precedent for its misuse. What was intended as a bridge between cultures has morphed into a mandatory ritual, stripping it of its original depth and reverence.

Ernie Dingo and Richard Wally, in their attempt to incorporate this tradition into the Perth International Arts Festival, arguably missed the mark. Their version, while well-intentioned, transformed a sacred Aboriginal practice into something performative, aimed at appeasing rather than respecting. This event, rather than fostering genuine cultural exchange, began the trend of using the Welcome to Country as a token gesture, often devoid of true understanding or connection.

These acts have led to a widespread adoption where the ceremony becomes less about genuine welcome and more about symbolic acknowledgment, often by those who have little understanding of its deeper meaning. This isn’t just about cultural appropriation; it’s about the dilution of what was a profound ritual into something superficial, often used to tick a box for inclusivity without engaging with the culture’s essence.

Australia’s journey towards reconciliation and unity shouldn’t be paved with hollow gestures. The Welcome to Country, in its current form, is a symbol of division rather than unity, making non-Indigenous Australians feel alienated rather than included. If we’re to move forward, we need to critically assess how these rituals are used. Let’s engage together in our collective Australian culture in ways that educate, involve, and truly respect one another, rather than just perform and appease. Let’s not let our sacred rituals be reduced to a script read without heart, but instead, let them be lived experiences in the outback that educate and unite all Australians in a shared understanding and respect for this land’s heritage.