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Ngalkunburriyaymi #2

This is a painting of Ngalkunburriyaymi, the fish-woman spirit. Sometimes compared to the European notion of mermaids, they exist as spiritual beings living in freshwater streams, particularly those in the stone country. The spirit Yawkyawk are usually described and depicted with the tails of fish, as in this carving. Thus the Kuninjku people sometimes call them ngalberddjenj , which literally means ‘the woman who has a tail like a fish’. They have long hair, which is associated with trailing blooms of green algae (called man-bak in Kuninjku) found in freshwater streams and rock pools. At times they leave their aquatic homes to walk about on dry land, particularly at night.

Aboriginal people believe that at one time all animals were humans. During the time of the creation of landscapes and plants and animals, these animal ancestor heroes in human form changed into their animal forms via a series of various significant events now recorded as oral mythologies.

Today the Kuninjku believe that ngalkunburriyaymi are alive and well and living in freshwater sites in a number of sacred locations. The kuninjku also believe that ‘clever’ men (magicians with mystical powers called in Kuninjku na-kordang) may take these spirits as wives. The father of Mandarrk, a well-known artist who resided in the Central Arnhem area, is said to have had such a spirit as a wife. Unfortunately, it is said, she failed one day to return from being sent to fetch water from the river, and returned to her kin. The ngalkunburriyaymi also have husbands and children of their own kind. Their sites are usually shared with the rainbow serpent ngalyod. Some have ritual importance, for example in some depictions, the yawkyawk spirit holds ceremonial string, just like the lengths of string woman hold between both hands today during certain public ceremonies. 

There are at least three major ngalkunburriyaymi sacred sites that are well known in the area south and south-west of Maningrida. One site is on the Mann River at a place near Yikarrakkal Outstation where the Mann River has rugged rocky banks and clefts beneath stone overhangs in the water. The figure in this painting relates to this site. Another very similar site further west in the Kumadderr River district is surrounded by a number of small but very old rock art sites and has become known in English as ‘Dreaming Lady’. A third site is a major yawkyawk dreaming place which is so significant that the traditional clan custodians have set up an outstation community near the site and the identity of this group is very much related to their yawkyawk dreaming for which they have spiritual and practical responsibility. This group, known as the Dangkorlo clan, are well known for their bark paintings and sculptures of yawkyawk. Both of Kubarkku’s wives are members of the Dangkorlo clan.

 

Name: Ivan Namirrkki


Language: Kuninjku


Community: Maningrida


Biography:

“We have been all around the world to exhibitions. I am the voice of this artists group and a strong man; a proud traditional owner who is happy to inform my peoples of our future in telling stories around the world. We are thinking about our history, always thinking as we are creating and learning, and my family put their stories on some bark and some rocks here in this country. For my kids and grandkids to learn and teach their kids and grandkids, I think this is really wonderful. This is really important to me and the people of this community, so that this story can keep me strong story, one that is passed on for future generations.” - Ivan Namirrkki.

Kuninjku artist Ivan Namirrkki was born in 1961.  Namirrkki was taught to paint by his father Peter Marralwanga  (1917–1987) - a renowned bark painter and political proponent of the maintenance of ‘country’.

Namirrkki was first taught to paint by his father in a figurative manner. The focus was stories like Kalawan and Namorrorddo for his Kardbam clan lands near Mankorlod although later Marralwanga also guided Namirrkki in the stories for other clans around Kumurrulu. He helped his father work on two exhibitions in Perth in 1981 and 1983 and travelled to Perth as part of the project. To distinguish his own figurative works Namirrkki often used black paint as the background to the figures although, like his father, he also became adept at varying the pattern of infill from rarrk to dotting to sections of full colour to create dynamic visual effects. In the late 1990s Namirrkki moved to paint geometric work in the Mardayin style. His style is very strongly symmetrical with evenly spaced bands of rarrk arrayed in concentric diamond forms. This diamond arrangement has become his signature and it features as the background of works that show the complex interconnections between waterholes in his country. He also contrasts this patterning with dotting and other variations of rarrk to indicate the power of the sites. Occasionally Namirrkki will return to paint figurative images or combine them in more geometric images.

Common themes in his work include the ngalyod (rainbow serpent), birmlu and djarlahdjarlah (barramundi), kalawan (goanna), komorlo (little egret), komrdawh (freshwater turtle), nadjinem (black wallarroo), nakidikidi (a harmful and nasty spirit), namorrorddo (a profane spirit), nayuhyungki bininj (ancient people), ngaldjalarrk (snake), ngalyod (rainbow serpent), ngurrurdu (emu), and yawkyawk (a female water spirit).

He is also known for painting leech djang located at Yibalaydjyigod and maggot djang located at Yirolk.   Luke Taylor cites Namirrkki and his father’s work,  transferring this djang (or dreaming), as a political act, invoking a tangible aboriginal ontology in relation to land, life and the spiritual.  

“The point of painting such work for the market is to expose viewers directly to the power of the Ancestral realm…Namirrkki has spoken of his love for country particularly the soothing qualities of living adjacent to its important waters. There is also a confidence and peace derived from living in one’s heartland that  flows to all activities conducted there. An understanding of the importance of country provides the context for more developed understanding of Kuninjku concepts of personhood, sociality, power, and health, as well as local constructions of other frameworks of human experience such as aesthetic experience.”1

Namirrkki began exhibiting his work in the early nineteen eighties and has been presented in numerous group and solo shows over the years, both in Australia and overseas. In 2006 he was a finalist in the National Gallery of Victoria’s Clemenger Contemporary Art Prize.  Namarrkki’s art can be found in many collections including that of the Art Gallery of New South Wales, National Gallery of Victoria and the Art Gallery of South Australia.

1.  Luke Taylor, Connections of Spirit: Kuninjku Attachments to Country,  in Country, Native Title and Ecology, ed. Jessica K. Weir, pp. 21-46.


© the artist / art centre