Key conclusions and recommendation of Churchill travel

Key conclusions and recommendations

 

Cultural plant knowledge is deeply tied to identity and forms part of a broader web of cultural understanding. It helps people feel connected — to ancestors, community, the landscapes they live within, and the natural world as a whole. These connections bring meaning to people’s lives, strengthen community bonds, and contribute to wellbeing. While this is true for everyone, it is particularly profound for Indigenous peoples who have experienced colonisation and the loss of land, rights, and aspects of identity — impacts that continue to shape lives today.

Working with and using plants that grow locally, and that are part of an ongoing story of place, can also support more sustainable, less industrialised practices. This approach encourages close observation of plants, awareness of the stories they hold, and recognition of the ecosystems they are part of. In turn, it can motivate care for the natural world and greater reflection on human behaviour. In many of the places I visited, this relationship with plants was taken as a given; in others, it was raised in interviews as being directly linked to wellbeing.

Knowledge of plants and place — and their use in dyeing, fibre work, and other cultural practices — has strong connections to community wellbeing, identity, and the ability to understand and care for the land. The continuity and strength of this knowledge in the locations I visited reflects histories deeply woven into each landscape.

In each place I visited, the frameworks for retaining and passing on plant knowledge varied according to local context. In Indonesia, Thailand, and Mexico, this was closely linked to interest in and markets for traditionally woven products, along with the cultural stories embedded in them. The deep traditions and knowledge incorporated in these items added significant value, both economically and culturally. While commercial interest was not the only motivation for maintaining tradition, knowledge was generally passed down within families and communities organically, and was often shared with visitors with generosity.

In Hawai‘i, the framework was more similar to Australia, where colonisation more recently disrupted the transfer of cultural knowledge. There, a strong resurgence of energy is now directed toward reclaiming and passing this knowledge to community members through structured initiatives such as apprenticeships, community workshops, art exhibitions, and specially designed school programs. The focus is primarily on sustaining the knowledge within Hawaiian communities, with product sales playing a secondary role.

For Australia, these observations are highly relevant. As a colonised and industrialised country — and particularly in the north, where much of our food and materials come from far away — programs that reconnect people to local plants, stories, and landscapes are essential. This journey highlighted the extent of disconnection from place in Australia and strengthened my commitment to fostering initiatives that rebuild these vital connections in everyday life.

Educators are not only classroom teachers — they exist throughout the community. The most effective education programs are often those that emerge from the community itself, taking a grassroots approach. These may intersect with the schooling system but are not driven by it, recognising that learning extends far beyond the classroom. Formal education systems, particularly those shaped by government priorities, often undervalue traditional knowledge, focusing instead on the skills that serve capitalist economies and produce “workers.”

Integrating cultural plant knowledge — alongside other cultural practices such as dance, storytelling, and food sovereignty programs — into schools can be a powerful addition. In Hawai‘i, such integration is increasingly common, and similar efforts are slowly growing in Australia. However, many schools still fail to meet the needs of remote communities, Indigenous peoples, and young people from diverse cultural or learning backgrounds. In Indonesia, Thailand, and Mexico, Indigenous language, culture, and food programs are less likely to be part of formal schooling, with this knowledge still more often passed down organically within community settings.

It is essential that connection to culture and the natural world is given greater weight in mainstream education. At the same time, it is important to recognise that meaningful learning happens everywhere and at all ages. Education outside formal schooling — through family members, elders, artists, and community leaders — holds equal value, even when delivered by people without formal teaching qualifications. Such learning deserves the same respect and support as school-based education, without being wholly captured within a government-led system that risks exerting top-down control.

For this reason, there is a danger in expecting programs like Learning on Country to carry the full scope of cultural and nature-based education. Some aspects of this work may be better suited to other platforms and settings, where artists, knowledge holders, and specialists can collaborate, maintain sovereignty, and form partnerships — including those that operate entirely outside the schooling system. How to implement this is complex, but a holistic approach to what knowledge is valuable, that other places beyond schools are important learning places, including the natural landscapes themselves, women’s groups, art centres, family homes, community hubs, gardens, and how knowledge is passed on is as diverse as the people on the planet is essential to keep in mind and to ever question our schooling system and its flaws, so we can improve it, and certainly not punishing families for not engaging with it, but asking bigger questions about why they do not wish to or cannot.

Highlights and reflections of travelling for the Churchill scholarship in 2024

Highlights and reflections:

 

A question I was often asked after returning to Australia was, “What was your favourite place or part of your research journey?” To be honest, it’s a very hard question to answer. The diversity of places I visited, and the incredible educators I met along the way, made the whole journey rich and memorable. Choosing a single favourite feels impossible.

Hawai‘i was perhaps the most directly relevant to programs in Australia, with similar colonial timeframes and outstanding educational initiatives that underpin cultural knowledge exchange. There are still many more programs and places there to explore. Mexico was also fascinating and valuable, particularly as it was my first time travelling there, and it revealed a whole range of opportunities for future research.

In reflection, I gained valuable learning from every location. Spending longer in one or two places might have allowed for deeper immersion, but the time I had has only increased my desire to return and reconnect now that I have met people in person and been given valuable leads. Building trust and connection takes time, and for people to share stories with deeper meaning often requires ongoing relationships. My research was only a first step, especially in Hawai‘i, where as I was leaving Kaua‘i and O‘ahu, I was contacted by kapa artists I hadn’t previously met but who had been introduced through people I met on the ground. Because there was already a sense of personal connection and good intentions from face-to-face contact, they were keen to meet — some even offering to share their art practices. I hope to follow this up and return. Even in a short time, I made some lovely connections with educators who generously shared their passion.

The relatively recent colonisation of Hawai‘i, and the resurgence and reformation of cultural knowledge there, has strong parallels with Australian stories. The plants were also the most similar to those found in coastal Northern Territory — many of which grow here, though not necessarily used locally for dye. The process of ink-making for kapa had surprising similarities to my own art practice, developed without prior knowledge of kapa painting. I especially enjoyed the tangible, physical process of making and pounding the kapa cloth, and the rawness of the material itself and becoming aquatinted with the very important plant “Wauke”

The poetic nature of Hawaiian plant stories resonated deeply with my work in Australia. Each important plant is tied to a unique narrative of origin, often involving love, loss, and a profound connection to place. While in the Hawaiian Islands, I recorded 22 interviews (audio, and in some cases video) with educators and artists. Because English is widely spoken there, the process was much easier — and people were articulate, passionate, and willing to share.

My time in Chang Dao, Thailand, with Siriphon was another special highlight. She generously shared her passion as an educator and welcomed me into her indigo fields, where I harvested and processed the plant to create colour — a remarkable experience to be part of.

Another standout was my stay in Teotitlán del Valle, Oaxaca, with a wonderful family who ran a home workshop. Their hospitality extended far beyond the formal — I joined them for meals and mezcal, and at the end of my 10-day stay, their youngest son Eric took me on a beautiful hike up the sacred mountain El Picacho. Watching the sun set over the valley, the magic and history of the landscape struck me in a way that is hard to put into words. Eric’s deep commitment to keeping connected to Indigenous knowledge and spirituality gave me great hope, as did the passion I saw in many young people in Mexico.

I learned a great deal from Demetrio Bautista in Teotitlán del Valle and from Elsa in Oaxaca. Mexico’s colonial history has a different scale to Australia’s, and over time, a distinctive merging of Spanish, and Indigenous traditions has evolved into a very much owned and modern identity. The vibrancy, warmth, intertwined cultures, energy, chaos, colour, and unpredictability all resonated with me, but at the same time acknowledge the great troubles that still exist as froms of colonialisation or gentrification continue. I discovered many other areas in Mexico with rich cultural knowledge and plant programs that would be fascinating to explore further and see how this knowledge continues to be strong and valued in the current times.

As you can tell, there were many highlights. It has been a privilege to take this journey — the most challenging part has been writing the report and distilling it all. The audio recordings I made along the way have been invaluable, and I hope they will form the basis of a podcast-style series to share the voices and stories of the people I met. In future, I would consider using translators to reach those with limited English, but overall people were more receptive than I had expected, and they appreciated the chance to tell their stories in their own words. While this written report reflects their experiences through my lens, the audio will allow their voices to be heard more directly, with greater clarity and authenticity.

Colours of Country

I was awarded a Churchill fellowship (2022) to research educational programs that support the transfer of traditional plant knowledge with a focus on Tropical dye plants. in 2024 I took a 10 week journey to research this in Bali, Thailand, Hawa’ii and Mexico

Growing our own plants locally for food and materials cultivates connection to place and each other. Using locally sourced plant dye is culturally important and there is growing interest to re-establish such practices and to encourage traditional knowledge transfer to new generations.

My research involved visiting organizations that have established educational programs on the growing, harvesting and processing of tropical dye plants. I will gather information from this experience to use in the tropical region of the Northern Territory to assist in

  • the running of educational programs in processing and sustainable harvest and what frameworks are useful to keep traditional plant knowledge alive and relevant

  • development of online resources for community members including artists and educators

  • the establishment of dye garden or wild harvest enhancement techniques.


The research journey overview

25th- -29thMarch

Near Ubud, Bali, Indonesia

Threads of Life

I started my journey, not too far from our home in the Northern Territory in Bali, to visit the organisation  Threads of life,  which works throughout the Indonesian archipelago to support traditional dye, plant and textile knowledge in communities. In Ubude, they  have their  head office, dye garden and dye workshops for visitors, outside artists and students.

As well as taking part in a 4 day plant residency I interviewed founder William Ingram and founding Balinese educator Pungi Made.

I also learnt about their wider work and the data base being created to hold cultural plant knowledge of fibre, colour and plants of significance from across Indonesian archipelago.

1st April- 5th April

Singapore

Wild Dot

Singapore is very urban and amongst it is Wild Dot studio run by Liz Liu and Surin eho run educational programs using wild collected dyes  and making inks; I visited their home studio and interviewed themabout their work and Liz’s research into the tropical dye plant Morinda  citrifolia

Gardens on the Bay

I took  the opportunity to visit to Gardens on the bay- a display garden showing tropical ecosystems and interest in Singapore.

Singapore Botanical Garden and Ethnobotanical centre

The world famous botanical garden is in Singapore and I visited their ethnobotanical centre and garden; interviewing staff about the role of the centre in education around cultural plant knowledge in a context of a multicultural city. 

9th - 13th April

Chang Mai and Chang Dao, Thailand

Studio Naeena;

I started in Chang Mai with a Studio tourof Patricia Cheeseman, renowned textile expert and author of “Lai Tai textilesi of Xam Nuea and Muang Phuan and her daughter Lamorna Cheeseman  who now run Studio Naeena and support indigenous women  weavers to continue traditional culture and craft through a fair trade enterprise. I also recorded an interview of their journey and insights into keeping textile and plant knowledge alive in the region.

Chang Dao blue with Siriphon

I spent a very enjoyable 3 day residency with Siripohn and her husband in the Chang Dao region, welcomed like family. Siripohn is a Thai natural dye artist and indigo grower, and an inspiring educator; she is the first to farm indigo in the Chang Dao region and here I got to experience an indigofera (Indigofera sp.) harvest for  the first time from field to ferment. We also spent sometime  dyeing with a few other colours including Sappan wood and experimenting with colours. I also recorded a long interview about her role in education.

20th April

Hae’iwa, O’ahu, Hawai’i

Malama Loko Ea Ka fish Pond

I was invited to take part in a community day clearing the traditional fishpond and I got an insight into the passion of Young Hawaiians to reconnect with their cultural practices and have a strong and inspiring voice. I   got the chance to meet   other participants and see how community connection and interest  is grown by and   within  this organisation.  I met with leading members of the  organisation- Sayo Constantito and others and learnt  about their extensive education programs and  perspectives  on the future of cultural knowledge exchange in Hawaii; particularly with an emphasis on food sovereignty and plant use.

21st April

Waimanalo,  O’ahu,Hawai’i

Puko’a Studios, Page Chang, Waimanalo

Spending a day with Kapa artist Page Chang and her intern at her home studio was a real highlight, learning about the harvesting and making of kapa and the process of using natural dyes to decorate it. The kapa making process is tangible, engaging and connected to plants and place. During this time together I learnt of Page’s art practice, how she came to be passionate about revitalising cultural knowledge and has a role as an educator to young people in schools. I recorded an interview with her capturing some of these insights.

22nd and 23rd April

Waimanalo, O’ahu, Hawai’i

Sustainable Ideation, Waimanalo, O’ahu,

While staying in Hawaii I  tried  to choose native Hawaiian owned accommodation; this included on  a regenerative farm at Waimanalo. Against  the incredible  green mountain  range I spent  time with Melia  Smith;  the co-owner of the farm and founder of “Sustainable Ideation”; the underpinning organization; I learnt about the nutrition camps held on the land that promote food sovereignty and cultural knowledge exchange of Hawaiian medicine and food plants  and  also about visions for the future (captured in a recorded  interview).

23rd April

Honululu, O’ahu, Hawaii

Manoa Heritage Centre

I was invited to the Moana visitor’s centre and was given a really personal guided tour by Keala Llinsey/ Wong, who has the role as educator at the centre- I learnt about  the centre’s history, cultural knowledge programs and its kapa and dye activites for schools  as  well  as capturing  Keala’s personal perspectives in an interview.

Thurs 25th April

Kauii, Hawai’i

Limahuli Tropical Botanical Garden

I went on a Garden tour of Limahuli; learning of its cultural significance; seeing it’s  traditional taro gardens, plants and buildings and got an insight into the canoe plants bought  to Hawaii.

Monday 29th May

Kauii, Hawai’i

Tropical Botanical Garden

I was invited to TBG to learn of  their research and  conservation  programs within the islands  and their cultural education programs. I   had  a Garden tour and interview with Dustin and educator Kim Mauga about their educational camps that focus on cultural plant   knowledge  and  stories  for youth.

Wed 1st May

Waimea, Big  Island (Moku O Keawe) , Hawai’I

Waimea Garden School

This   garden program   had  included a dye plant project- I met  with garden program coordinator   Zoe and  interviewed her about  the roles of  school gardens and cultural plant   knowledge and  food  sovereignty in Hawaii.

Friday 3rd May

Volcano, Big Island (Moku O  Keawe) Hawai’i

Volcano Art Centre

I took part in a Lei making workshop at the volcano art centre and  interviewed Norman Kduahi and Zennie Sawyer about  the significance of Lei  and how this cultural plant knowledge is linked to hula and being passed on  through  generations,  particularly in   context   of  a colonised  place.

Wednesday 8th may

Near Waimea, Big Island, Hawai’i

Roen Forrester home studio

After connecting with other educators in Hawaii I was very fortunate to be   invited to join a Kapa making art collective at Roen Forrester’s home. She is a renowned Kapa artist and educator and runs community   kapa making sessions once   a week to   keep the practice alive and connect community. I met other kapa members who shared their love of kapa making as well as getting   hands   on harvesting kapa,  and preparing it.  I also was able to interview Roen about the gatherings and passing of this important practice and upcoming art exhibitions.

Friday 10th May

Volcano, Big Island (Moku O  Keawe) Hawai’i

Volcano Art Centre

I  spent time with Lei Maker, artist and printer once again at Volcano arts. Here I learnt about print techniques derived  from taro stems and other  fruits that were reflective of the stamps used on  kapa for traditional clothing and  blankets.

Tues 14th- Thursday 16th May

Oaxaca, Mexico

Tenido O Mano

In Oaxaca city I spent 3 days with Elsa, a Maestro of natural dye at her house and studio (Tenido O Mano) learning which plants/ insects are used and getting her insight into life here. The main dyes used with Elsa were  Marigolds; Pericon, Pomegranet,  cochineal and we dyed wool  yarn. I learnt recipes, got an insight into local life and the history of cochineal and textiles in the region.

Tues 21st May- Sun 26th May

Teotilan deValle, Oaxaca, Mexico

Huelle Carmin

Ray David and family

I spent 6 days with a wonderful Zapotec family in the nearby town of Teotitlan de valle, famed for weaving a, (rugs) and natural dyes. They run a home workshop where  they run short  workshops and  tours  as well  as having working educational displays and many  looms where they make rugs. I observed the day to day running of their  business, helped on their farm, took part in workshops, visited  local  growing areas and interviewed them about their culture, knowledge  exchange and hopes for the future, while feeling part of the  family.

Sun 26thMay- Tues 28th May

Teotilan deValle, Oaxaca, Mexico

Demitrio Bausita

I spent my final research time with world  famous dye master Demitrio Bausita. He was one of the first in the   area to document traditional dye  techniques and then teach others as the practice was being lost. We  spent time dyeing many different yarns of wool with 6 different plants. I witnessed  his visitor groups and interviewed him about his work, connection  to plants, role  as an educator and hopes for the  future.

 

Research of Education programs and plant knowledge- how it came about?

Why plants that make colour? - Well a good question, but sometimes you need focus.

To be honest I am fascinated by all plants that people feel connection to- why? because this connects them to their surroundings, our natural world and gets them to ask more questions, to start an invisible layer of understanding that we need to look after everything and live simply…

Oaxaca tintes naturales

I focused some of my travel and research in Oaxaca, the last stop on my journey, and it left a deep impression—lively, colorful, full of soul, beauty, friendly people, and of course, its own complexities and challenges. Mexico was colonized long before Australia (in the 1500s), yet it retains thriving Indigenous populations, with a rich web of plant and sacred knowledge. Oaxaca is particularly rich in Indigenous culture and traditions and is famous for its use of plant dyes—one of the key reasons I traveled here.

Located in southern Mexico, Oaxaca stands out alongside Chiapas and Yucatán as one of the states with the highest Indigenous populations—and, regrettably, some of the highest poverty rates. This correlation is sadly familiar worldwide. Oaxaca’s incredible diversity of Indigenous communities is reflected in its linguistic, cultural, and artistic traditions, making it a hub of ancestral knowledge and a vibrant living culture.

I focused some of my travel and research in Oaxaca, the last stop on my journey, and it left a deep impression—lively, colorful, full of soul, beauty, friendly people, and of course, its own complexities and challenges. Mexico was colonized long before Australia (in the 1500s), yet it retains thriving Indigenous populations, with a rich web of plant and sacred knowledge. Oaxaca is particularly rich in Indigenous culture and traditions and is famous for its use of plant dyes—one of the key reasons I traveled here.

Located in southern Mexico, Oaxaca stands out alongside Chiapas and Yucatán as one of the states with the highest Indigenous populations—and, regrettably, some of the highest poverty rates. This correlation is sadly familiar worldwide. Oaxaca’s incredible diversity of Indigenous communities is reflected in its linguistic, cultural, and artistic traditions, making it a hub of ancestral knowledge and a vibrant living culture.