Here, the focus of the film shifts to how the old people at Yuendumu pass on their culture to the young. And for this, Paddy Japaljarri Stewart, who was in the forefront of the push to develop new means of educating both young people and outsiders about Warlpiri culture, becomes our key informant.

By the 1980's it had become clear that settlement life and the uneasy relationship with the culture outside the settlement required the development of new strategies to insure cultural continuity. Paddy Stewart had lived at nearby Papunya in the early 70's, when the contemporary painting movement began there. And he had worked on the historically important Papunya school mural project, where a Honey Ant Dreaming was painted on the side of the school. Paddy Stewart's earlier experience in developing such public, secular uses of Dreaming icongraphy, as tools in the struggle for self-determination, made him a key figure in the now famous Yuendumu school doors project (more on this later).