REPRINT AVAILABLE IN AUGUST 2012

BOOK LAUNCH AT HAHNDORF ACADEMY, Saturday 26th June 2010

John Gallehawk, Axiom's managing director, spoke at the launch by way of introducing Robin Coles, the author:

'Amongst the fun and games of book publishing there come constant reminders of why you put yourself through the frustrations. The opportunities to meet passionate, resourceful and unique people who lift your day and remind you how, in some small way, you can make a difference. Axiom is relishing the challenge of recreating pictorial histories of Australia's early European experiences, however for obvious reasons we have never had the opportunity to play any role in recording anything to do wiht indigenous culture.

You can imagine our enthusiasm when Robin offered us that chance. In my capacity I can only speak of our relationship with the author and it would be an impertinence for me to even touch on the subject, rather I'll leave that to the people themselves.

Robin's genuineness and sensitiivity toward his subject is probably the most oustanding aspect to his character and from the beginning it has been a privilege to spend time and help nurture what we now present as The Ochre Warriors. No one, apart from the absolutely committed, can understand what drives a person with so much dedication and uncompromising loyalty toward delivering the best result at his disposal. Selfless lifelong ambitions are what most  of us can only watch and admire and to do it all with so much humility is nothing short of a modern day miracle .."

Introduction - Author Robin Coles

“I have written this account of the Peramangk Peoples’ Culture and art after much reflection on the need to preserve the existing records. My first encounter with Peramangk art came by chance when a policeman introduced himself to me on returning a house key. He spoke of his recent visit to an Aboriginal art site near Rockleigh in the eastern Mount Lofty ranges. I was fascinated by his account. The policeman’s description of the paintings inspired me to find it as soon as possible. Eventually in the region east of Mount Torrens I located a fenced rock shelter situated near a prominent hill. There I took some photographs of the faint red-ochre images present on the wall. At the end of the day I could feel a desire to continue looking for other art sites in the Mount Lofty Ranges.

The passion continued even after the devastating Ash Wednesday fire in 1984 that destroyed almost everything I possessed. Luckily through preplanning I had stored all my photographs in the laboratory where I worked at the Waite Institute near Urrbrae. After I found the original colour slides that I had taken of the Rockleigh art site. This was the beginning of my private research into the Aboriginal culture of the Mount Lofty Ranges which included Transactions of the Royal Society, the Proceedings and Records of the South Australian Museum and the Royal Society.The Field Naturalist Society journals where I discovered a wealth of information about the art of Peramangk people. Then I went to a property at Eden Valley where a cluster of paintings had been previously described in 1926. I eventually met the owner who told me about the sites on his land. I recorded the red and white-ochre figures for the first time using colour slide film as depicted in this book.

Through my contacts with the Aboriginal Heritage Branch of South Australia, I learnt that there was a Peramangk descendant called Jerry Mason who lived at Loxton. I arranged to meet him in order to discuss my findings. He informed me that I must meet Richard Hunter at Mannum and discuss the work. Richard was also a Peramangk. Whilst I was driving home I realised it was important to inform others about the Peramangk heritage. Sadly one day while I was working in the Riverland by the River Murray I read an Advertiser newspaper article and learnt of Jerry’s death. It was now imperative to communicate further with Richard Hunter. Richard and I became close friends and we regularly visited art sites in the Mount Lofty Ranges. We also conducted guided tours to some sites. Richard was an inspiration for this work and I clearly remember him saying that, ‘recording this and what is left is for our children and for the future generations, and you must always involve me in what ever you find’. This conversation has remained in my mind ever since. Richard and I regularly spoke about the various fringe groups who felt they had a right to capitalize on the Peramangk’s culture. At the end of recording we had documented seventy two art sites, the majority recorded for the first time.”