the seasons, stories and creation spirits. " The history of a people with an area ("Country") can go back for thousands of years, and the relationship with the land is nurtured and sustained by cultural knowledge and by the environment. Disconnection from the land can impact health and wellbeing. This connection is also reflected in such phrases as "caring for country" or "living on country", and related to the importance of land rights and native title. Evolution of the two greetings Welcomes to Country are a form of Aboriginal ceremony dating back many thousands of years, used to welcome other peoples from other areas and as a cultural exchange. The Yolngu peoples engaged in the ceremony to welcome Dutch explorers in the seventeenth century, and with Makassan trepangers from the mid-eighteenth century. It is seen as a way of making newcomers feel comfortable and connected, and may be the basis for forging important future relationships. The 1973 Aquarius Festival held in Nimbin, New South Wales, by the Australian Union of Students (AUS) has been documented as Australia's first publicly observed Welcome to Country, although it was not called this at the time. Organisers of the alternative lifestyle festival, considered Australia's "Woodstock", were challenged by Indigenous activist Gary Foley to seek permission from traditional owners to hold the festival on their land. San people from the Kalahari Desert in Southern Africa, including artist Bauxhau Stone, were sent out by AUS representatives to invite Aboriginal people to the festival, and funding from the Whitlam government paid for many busloads to travel to the festival. An estimated 200 to 800 Indigenous Australians attended the two-week festival, marking a significant kindling of relationships with Australia's counterculture. A ceremony was conducted by Uncle Lyle Roberts and song man Uncle Dickee Donnelly, the last known initiated men of the area. The second recorded Welcome to Country occurred in 1976, when entertainers Ernie Dingo and Richard Walley developed a ceremony to welcome a group of Māori artists who were participating in the Perth International Arts Festival. The welcome, extended on behalf of the Noongar people, was intended to mirror the visitors' own traditions, while incorporating elements of Aboriginal culture. Walley recalled that Māori performers were uncomfortable performing their cultural act without having been acknowledged or welcomed by the people of the land. Arts administrator Rhoda Roberts says that the Aboriginal National Theatre Trust was instrumental in developing