Stories of place connect communities to land, culture, and one another. With this in mind, Arts Upper Hunter set out to document two Wanaruah stories from the Upper Hunter Valley, creating new digital content for Creative Valley-a cultural tourism platform that celebrates the stories, people and creative heritage of the region. The project was funded through the Strengthening Communities program by the Foundation for Rural & Regional Renewal (FRRR).
Project Manager Suzannah Jones says: “Creative Valleys is not just a resource for visitors, it’s a resource for the community. Alongside collecting cultural listings, we want to enhance and preserve local stories to foster a deeper connection to place.”
Arts Upper Hunter engaged filmmaker Jonathan Burrows, whose past collaborations include the LiddellWORKS project and the documentary on Carmel and Gwen, The Twins of the Pioneer Museum in Murrurundi. Suzannah identified two stories to be documented: the cultural burn at Muswellbrook Common, led by the Wanaruah community, and a forthcoming film with artist Kerri-Ann Taggart and her father, Uncle Warren Taggart, exploring their creative and cultural connection to Country. This second film is due for release in December 2025.
The first film in the series, The Common, has already garnered significant recognition, selected for the Blue Heeler Film Festival’s Nurture category and receiving the award for Best Cinematography in 2025. The film captures a cultural burn at Muswellbrook Common, guided by local Elders and supported by the Aboriginal Engagement team from the Department of Primary Industries and Regional Development / Local Land Services. CEO of the Wanaruah Local Aboriginal Land Council, Dee-Ann Douglas, praised the film, saying: “The film about the Common was absolutely incredible – it captured the depth of our culture with a powerful cultural burn that showed connection, care of Country and the strength of our people.”
For Jonathan, the award is a meaningful acknowledgement: “It’s honestly such an honour. The recognition for cinematography feels like a tribute to the story itself, because the landscape and the people are what make it beautiful. I wanted the images to feel alive and connected, like the land was part of the storytelling.” Reflecting on what drew him to the project, he says: “I was drawn to the idea of the Wanaruah people reclaiming and reconnecting with their land through the cultural burn… My goal was to listen first, to understand what the burn meant to the community, and then capture that story without getting in the way of it.”
One moment remains especially vivid: “When the fire started-it wasn’t rushed or dramatic. It was calm and deliberate, guided by knowledge passed down for generations. You could feel the significance of it. It wasn’t just about managing land, it was about healing it, and you could see how that healing extended to the people too.”
His visual approach supported these deeper themes of cultural connection. “I used wide shots to let the landscape speak, and slow movements to give space for reflection. Light and smoke became natural metaphors for renewal and memory,” Jono explains. One image stands out for him: “There’s a moment where a mother guides a child through the land during the burn. Seeing traditions being passed down in front of me was incredibly special.”
The second film in the series, set for release in December, focuses on Uncle Warren and Kerri-Ann Taggart: “They share their creation story and some incredible rock carvings. It’s a reminder that the presence of Indigenous people is all around -you just have to know how to see it.”