SKU: 85111882280

"My Country Dreaming" by Sharon Numina

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"My Country Dreaming" by Sharon NuminaArtist: Sharon Numina Napanangka Size: 70 cm X 45 cm Medium: Acrylic on canvas Free Worlwide Shipping About Sharon Sharon Numina was born in 1981 and attended school at Kormilda College, Darwin. Sharon is one of six sisters and two brothers. Her mother, Barbara Price Mbtitjana, an older painter and cultural elder from Stirling Station near Tennant Creek, taught all her daughters to paint. Sharon is one of the younger painters of the fabulous Numina

Artist:      Sharon Numina Napanangka

Size:        70 cm X 45 cm

Medium: Acrylic on canvas

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    About Sharon

    Sharon Numina was born in 1981 and attended school at Kormilda College, Darwin. Sharon is one of six sisters and two brothers. Her mother, Barbara Price Mbtitjana, an older painter and cultural elder from Stirling Station near Tennant Creek, taught all her daughters to paint.  Sharon is one of the younger painters of the fabulous Numina Sister desert artists. Sharon lives in Darwin with her older sisters..

    Sharon's father, who has now passed away, is from Utopia. The stories of Bush Tucker, Goanna, Dingo Tracks, and other themes Sharon paints are her mother's and father's Country and Dreaming totems and cultural knowledge stories.

    Sharon and her sisters and mother come from a long line of desert painters of the contemporary Aboriginal art and dot-dot central desert movement from well-renowned painter aunties Gloria and Kathleen Petyerre, who are well-established artists in Alice Springs.

    About the artwork

    My Country relates to harvesting seeds used for making flour and damper, a staple food of traditional life. Seeds were valued and spread around watering places to encourage bountiful growth of native plants. Bush Medicine Leaves refers to the plants harvested for traditional medicine practices, often to boil the leaves in water over a fire.

    Water Dreaming relates to the critical knowledge of waterholes, including the Creation stories tied to those places and how the stories link the water sites. Dingo Dreaming and Emu Dreaming are the final two of the five stories related to Creation stories and the role of native fauna in the traditions of the Anmatyerre people.

     

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    SKU: 85111882280

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    Atcho’s choice of texts is smart: each has survived many decades in print, fascinates modern readers, and probes profound and current themes. Most are well known. Each one is worth your while to read or reread. Fiction, in particular, makes the Black experience in our country accessible to others. Living inside the head of Bigger Thomas (Native Son) offers a more personal understanding than any essay can. The church has always been part of the story, and Atcho does justice to this by examining African-American literature in a theological light. He is sensitive to what each text is saying on a spiritual level, discerning the subtext and bringing it to light. Over and over, as I read his analyses, I had the experience of seeing more clearly what I had only vaguely intuited. The readings he discusses are not one-dimensional or didactic, and I found having a Virgil at my side was invaluable. This book is a gift to us all.
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    I am so grateful to Claude Atcho for inextricably weaving together a spacious reformed theology with the heights and depths of great African American literature. Thanks to his gracious, nuanced, and substantive guidance, I can no longer separate the two. For example, I will no longer be able to read the Exodus account of liberation without imagining Zora Neale Hurston's "Moses, Man of the Mountain." Where the themes of great African American literature (and indeed, great theology) do not short-cut suffering, death, lament, and evil, Atcho manages to do this heavy lifting in a way that welcomes uninitiated readers like me. Our church read this book together, and I can't recommend enough that your church do the same!
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    I am incredibly grateful for this book. It gave me profound insight into essential truths of Christian faith and doctrine by allowing me to see them through a radically different lens than my internal lens. Plus, it opened me up enormously to the experience of black Americans who express the pain and challenge of life in our country thoughtfully and provocatively. I left this reading chastened, desiring more conversation, moved to listen better, and hoping to live differently.
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