ABSTRACT
Throughout this book, I hypothesise that a particular community of artists exists in Gunbalanya, a flexible community producing art in quite different contexts to their ancestors. From previous chapters, several themes emerge within the sphere of Injalak's community. This and the following chapters look to the artists – their contemporary lives, their cultural affiliations, their social positioning, and their individual or collective histories. At the same time, I focus many of my case studies on the artworks produced by members of Injalak's community. This chapter focuses on two key themes. The first is that men in their 30s dominated at Injalak Arts during the early 2000s. The second is that Injalak Arts was a place for cultural education and artistic apprenticeships.
