Clapsticks are carved from ironwood and are made to accompany the didjeridu, used for ceremony and dancing. The distinctive sound of the clapsticks can be heard played ceaselessly into the night to honour the funeral rites of Aboriginal people in Arnhem Land. Arnhem Land and the Top End of the Northern Territory is the traditional home of the didjeridu, the only wind instrument of the Aborigines.
Clapsticks are carved from ironwood and are made to accompany the didjeridu, used for ceremony and dancing. The distinctive sound of the clapsticks can be heard played ceaselessly into the night to honour the funeral rites of Aboriginal people in Arnhem Land. Arnhem Land and the Top End of the Northern Territory is the traditional home of the didjeridu, the only wind instrument of the Aborigines.
Clapsticks are carved from ironwood and are made to accompany the didjeridu, used for ceremony and dancing. The distinctive sound of the clapsticks can be heard played ceaselessly into the night to honour the funeral rites of Aboriginal people in Arnhem Land. Arnhem Land and the Top End of the Northern Territory is the traditional home of the didjeridu, the only wind instrument of the Aborigines.
Clapsticks are carved from ironwood and are made to accompany the didjeridu, used for ceremony and dancing. The distinctive sound of the clapsticks can be heard played ceaselessly into the night to honour the funeral rites of Aboriginal people in Arnhem Land. Arnhem Land and the Top End of the Northern Territory is the traditional home of the didjeridu, the only wind instrument of the Aborigines.
Before, a long time ago, when old people would die they would put their bones inside the lorrkkon and leave it outside. It is part of ceremony. The old people remembering and thinking about that person who passed away, there is lots of talking about where that lorrkkon needs to go.
My father, James Iyuna, taught me how to paint, to paint that rarrk. That memory is from him, he taught my sister Deborah and me. This story is from him, this design. When he was painting and drawing we would watch and we would learn.
Jennifer Wurrkidj
Jennifer is a Kuninjku artist from the Kurulk clan whose country lies around the outstation of Mumeka in central Arnhem Land. She has depicted lorrkkon (hollow-log coffin), kun-karninj (digging stick) and mandjabu (fishtrap) in this design.
The Lorrkkon or hollow-log coffin ceremony is the final ceremony in a sequence of mortuary rituals celebrated by the people of Arnhem Land. This ceremony might take place many years after the person has died, and involves the placing of the deceased’s bones into a hollow log that is decorated with painted clan designs and ceremonially placed into the ground where it slowly decays over many years.
The lorrkkon (hollow-log coffin) is made from the trunk of a termite-hollowed manbuluduk (stringybark tree, Eucalyptus tetradonta) and is decorated with totemic emblems. The western Arnhem Land version of the Lorrkkon ceremony involves the singing of sacred songs to the accompaniment of karlikarli, a pair of sacred boomerangs used as rhythm instruments. During the final evening of the ceremony, dancers decorate themselves with kapok down or, today, cotton wool, and conduct much of the final segments of the ceremony in the secrecy of a restricted men’s camp. The complete ceremony may stretch over a period of two weeks, but on the last night the bones of the deceased, which have been kept in a bark container, or today wrapped in cloth and kept in a suitcase, are taken out, and are painted with red ochre and placed inside the hollow-log coffin.
At first light on the final morning of the Lorrkkon ceremony, the men appear, coming out of their secret bush camp carrying the lorrkkon towards the women’s camp. The two groups call to each other using distinct ceremonial calls. The women have prepared a hole for the lorrkkon to be placed into, and when it is stood upright, women in particular kinship relationships to the deceased dance around the lorrkkon in a jumping/shuffling motion. It is then often covered with a tarpaulin and left to slowly decay.
Jin-merduwa (Mermaid) from Gupanga
My niece, Stephanie James is singing a song called Diyama and it is about Jin-merduwa. She is in the Ripple Effect Band. They are now famous in Maningrida and everywhere. Her great grandmother told her about the Jin-merduwa living at Gupanga/ Kupanga (sp?). I heard the story before Stephanie. Now I hear her singing the story about that place. I am very proud of her. We have the same country. Our stories match. She is singing the story and I am making artwork about the story.
My lino print shows the Jin-merduwa who live at Gupanga. Gupanga is located at the mouth of the Blyth River. It is a saltwater place. There must be more than one Jin-merduwa living there? They eat fish, shellfish and seaweed. Sometimes they travel to the end of the river to find food in the ocean, but they don’t go far and always swim back to their home.
Gupanga is a beautiful place. The sand is golden, there are mangroves, and the water is cloudy. It is good hunting in that area. When we lived there, we got lots of barramundi, mudcrabs, shellfish, everything!
This is a bit of a dangerous story. I can’t say too much about this sacred place. The Rangers help to look after this place, but they also know they must be careful.
Kuninjku people call mermaids yawkyawk. Yawkyawk are freshwater. In my language, Burarra we call them Jin-merduwa. Jin-merduwa are a bit different to yawkyawk but are also a type of mermaid.
I love to make lino print fabric showing Jin-merduwa. I like using bright colours but sometimes I print using black and white.
Ripple Effect Band – Diyama Song
https://rippleeffectband.bandcamp.com/track/diyama
This song was written by Stephanie James in her language of Burarra. It is about the mermaids that live in the river at her country of Kupanga.
Her father sings the Kun-borrk traditional music from the Diyama song cycle to link his daughter’s music to the past.
Credits
from Wárrwarra, released July 5, 2018
Written by Stephanie James, D. Maxwell (father for Stephanie)
Produced by Paul Mac, Jodie Kell, Clint Bracknell
Audio Engineer: Campbell Barnes
Guitar: Jodie Kell, Jolene Lawrence
Bass guitar: Tara Rostron
Drums: Jolene Lawrence
Keys: Patricia Gibson
Lead Vocals: Stephanie James
Back up Vocals: Jodie Kell
Diyama vocals: D. Maxwell
“When Martu paint, it’s like a map. Martu draw story on the ground and on the canvas, and all the circle and line there are the hunting areas and different waters and tracks where people used to walk, and [some you] can’t cross, like boundaries. So nowadays you see a colourful painting and wonder what it is, but that’s how Martu tell story long ago. It’s not just a lovely painting, it’s a story and a songline and a history and everything that goes with it.”
– Ngalangka Nola Taylor and Joshua Booth
This work portrays an area of Country that can be interpreted in multiple ways. Firstly, the image may be read as an aerial representation of a particular location known to the artist- either land that they or their family travelled, from the pujiman (traditional, desert dwelling) era to now. During the pujiman period, Martu would traverse very large distances annually in small family groups, moving seasonally from water source to water source, and hunting and gathering bush tucker as they went. At this time, one’s survival depended on their intimate knowledge of the location of resources; thus physical elements of Country, such as sources of kapi (water), tali (sandhills), different varieties of warta (trees, vegetation), ngarrini (camps), and jina (tracks) are typically recorded with the use of a use of a system of iconographic forms universally shared across the desert.
An additional layer of meaning in the work relates to more intangible concepts; life cycles based around kalyu (rain, water) and waru (fire) are also often evident. A thousands of year old practice, fire burning continues to be carried out as both an aid for hunting and a means of land management today. As the Martu travelled and hunted they would burn tracts of land, ensuring plant and animal biodiversity and reducing the risk of unmanageable, spontaneous bush fires. The patchwork nature of regrowth is evident in many landscape works, with each of the five distinctive phases of fire burning visually described with respect to the cycle of burning and regrowth.
Finally, metaphysical information relating to a location may also be recorded; Jukurrpa (Dreaming) narratives chronicle the creation of physical landmarks, and can be referenced through depictions of ceremonial sites, songlines, and markers left in the land. Very often, however, information relating to Jukurrpa is censored by omission, or alternatively painted over with dotted patterns.
‘I always follow the footpath of my grandmother. I have too many stories of my grandmother. We went to the bush and ate bushtucker like yam, yabbie, barra, catfish and magpie goose. We didn’t come into town often, we were staying at Barrihdjowkkeng outstation. I learned how the old people used to live. I always think about my family out there and I keep going. My grandmother asked me to work with her for many years. I watched her making lino and screen printing. That’s why I stay in this job and I’m for the women’s centre’. Roseanna Bonson 2021
Roseanna’s first design is a 2 colour waterlily design. Wayuk (waterlily) *kuninjki grow in the swamps around Barrihdjowkkeng.
‘The flowers of the waterlily are white and yellow and I like that kind of colour.’ Roseanna Bonson 2021
Lorrkon (hollow log)
A beautiful hand printed Lino design by Joy Garlbin.