On listening, trust and filming stories of Country in the Gascoyne.
Photographer and filmmaker Tristan McKenzie had worked on several smaller projects in the Gascoyne before he was invited to work with Gwoonwardu Mia.
Over the course of a week, Tristan and Jesse Britten interviewed nine Aboriginal community members from different language groups for a series of films made with Gwoonwardu Mia. Tristan approached each interview carefully, listening and allowing people to share stories of family, Country, strength and resilience in their own words.
We spoke with Tristan about the responsibility of working with those stories, what he learned about the relationship between people and place, and why the project still matters to him.
How did this project with Gwoonwardu Mia come about, and what first drew you to it?
I’d done a handful of smaller photo and video projects up in the Gascoyne region over the years, and those jobs really opened my eyes to all the wonderful landscapes and experiences on offer. When I got the call to work on a project with Gwoonwardu Mia, I didn’t hesitate to say yes! I knew from the snippets of time I’d spent there previously that the region was hiding some seriously interesting history and culture, and now I finally had the chance to go and uncover some of it for myself firsthand.
Before this project, how much time had you spent in Carnarvon or the wider Gascoyne, and did this experience shift the way you see the region, Western Australia, storytelling, or your own role as a filmmaker?
Highlighting the cultural diversity within the Indigenous language groups in the Gascoyne region was my primary goal. I found it super interesting that, despite the fact that these Indigenous groups have lived quite close to each other, their cultural traditions and stories can differ wildly from group to group. It was so fascinating to hear some of these stories in person, on Country.
As a filmmaker, the experience showed me that if you have the time, are willing to listen and can create a safe space, you open yourself up to some deep moments of connection with your subject. I had the privilege of being let in and trusted by nine different Indigenous community members on this project, and I cherish each of those moments greatly.
You spent time interviewing nine people from different language groups across the Gascoyne. Was there a feeling, theme or idea that kept coming through in those conversations?
I guess a similar theme across the perspectives of different individuals and language groups is one of strength and resilience. Despite adversity, people still find the good in their lived experience and cherish those childhood memories, especially when it comes to time spent with family on Country.
The Gascoyne River is quite often the setting for a lot of these stories and is the cultural linchpin that holds the region together. Not far from the river, Gwoonwardu Mia (which translates to ‘Meeting Place’) serves as a home base for these stories, which feels rather fitting.
What did this work teach you about Carnarvon and the Gascoyne that you could only understand by being there in person, sitting with people and listening?
I knew the Gascoyne region had some spectacular scenery, but I didn’t fully grasp the scale and just how diverse the landscapes were until I was out there filming it. You’ve got dramatic rocky cliff country on the northern coast. There’s the intense red dirt and ancient ranges in the east. And then there are low-lying coastal plains and mangroves looking south towards Shark Bay. Seeing in person how all those different scenes come together in one place helped me connect more deeply with how the different language groups have come to be in the region.
When filming stories that carry deep personal, cultural and family history, how did you approach the responsibility of being behind the camera?
When I took on the project, I definitely felt the weight of the responsibility. These are people’s lives, family histories and really personal experiences, so I knew it wasn’t something to take lightly. At times, it was pretty daunting because you want to make sure you’re doing justice to the stories people are trusting you with.
For me, it was really about listening and creating an environment where people felt comfortable enough to speak openly. At the end of the day, I just wanted to do the best job I could and hope that those I interviewed are proud to be part of it.
Was there one moment during the project that has stayed with you since filming? Not necessarily the biggest moment, but one that lingered or kept coming back up for you.
I think the moments towards the end of the interviews and after we stopped recording were my favourite. Once people realise that an interview is just a glorified conversation, they can start to have a lot of fun. The amazing, undocumented discussions I had with each person in the moments after the shoot stay between each interviewee and me, and I love that.
You mentioned this was some of your most significant work and some of the work you’re most proud of. Why do you think this project holds that place for you?
This project was definitely a big step in the right direction for me as a filmmaker and photographer. It brought a whole new level of professionalism to my work and allowed me to really push myself to the max. It’s easy to underestimate the logistics involved in doing a week-long film project like this. There’s the ten-hour drive there and back again, making sure you’ve got the right gear, having the right assistance (Jesse Britten) and having the flexibility to work with ever-changing circumstances each day. That, coupled with the opportunity to immerse myself in Indigenous culture and learn more about these distinct language groups, made the project so inspiring to be part of. I’m 100 million times better for it, and there is no way that I’d be where I am now if it weren’t for this project.
Your work often captures the relationship between people and place. What felt visually or emotionally unique about Gwoonwardu Mia and the Gascoyne landscape?
There’s just something so visually striking about the region, particularly when you see it from an aerial perspective. There’s the contrast of the rugged red dirt, the yellow sand and blue ocean, and the way the river bends through the landscape, leaving its mark even when it’s not flowing. That strong visual identity feels so reflective of the people and stories it holds.
For someone visiting Gwoonwardu Mia for the first time, what do you hope they slow down enough to notice?
If you are ever in the Gascoyne region, swing past Gwoonwardu Mia. Burlganyja Wanggaya: Old People Talking (the exhibition within the building) is something you need to experience. It showcases the history of the area from the Indigenous perspective in such an interactive and creative way. When you have that context, you’ll picture the stories unravelling as you step out on Country and explore it.
Also, if you are lucky enough to be there during a yarning circle, make time for that. Trust me.
Photography throughout this piece by Tristan McKenzie. Explore more of Tristan’s work here.
