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Published by CompNet Systems on

Wagilag ga Wititj Dhawu (Wagilag Sisters and Olive Python Story)

The Wagilag Sisters are central to the four important ceremonies of the Dhuwa moiety; the Djungguwan, the Gunabibi, the Ngulmarrk, and the Mandaialla.

The story is primarily an account of how, in the distant past, the two Wagilag Sisters came out of the southern interior and across the countryside to the Liyagalawumirr waterhole at Mirarrmina. There the younger sister profaned the pool of Wititj (the great Olive Python) by accidently allowing her blood to fall into the waterhole. Because of this, the women (and their children) were swallowed by Wititj.

All of the other sacred snakes stood up with their heads in the clouds and talked to each other with voices like thunder. The Pythons discovered that they had different languages and ‘skins’. Wititj confessed to eating the two women; his own moiety and fell to earth making a big depression in the ground. The big wind blew across the land making the first dry season. Wititj was ordered by the snakes to vomit the women and children back up. When he did this he also vomited up all the water from the waterhole, creating the monsoonal rains.

Categories: Bula'bula Arts

Name: Shannon Ashley

Language: Wagilak

Biography:

Djarrak's mari (mothers mother) was one of the first recognised female painters of the Ramingining community. Today, the early career talent paints alongside both her mother and her grandmother. 

Shannon also speaks of fond memories of herself as a little girl watching her uncle, the late great artist Djardie Ashley, put pigment down on bark.

“He is my uncle, and he grew me up. Painting and making art reminds me of him. He is always in my heart, forever.”

Shannon’s own art practice certainly reflects these robust artistic roots. Her paintings on canvas are a true feast for the eyes, their intricate details wrought by a confident young hand. Abstracted patterns and crosshatching techniques in a palette of earth and sky are striking to behold, reflecting her Yolngu stories in a dynamic, visually vibrant way.

Shannon is constantly inspired by these deep connections to family, Country and culture. “My family have three different countries; one place we call that area Luthunbarr,” she says.

“It’s a very beautiful Country, it’s Yolngu Country. We have everything there like trees, we go fishing, hunting for seafood like mud crab, long necked turtle and oysters.”

Through her practice, Shannon honours and respects the ancient knowledge and traditions that govern Yolngu culture. Painting stories that her family have given permission to paint and learning about Yolngu culture so if they pass away, Shannon can follow in their footsteps.

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