Deborah Wurrkidj is a Kuninjku artist from the Kurulk clan whose country lies around the outstation of Mumeka in central Arnhem Land.
In this design she has depicted man-djarduk (red bush apples) – a sweet, crisp bush food that is a favourite to collect.
Man-djarduk fruits in kurrung and kunumeleng seasons, the build-up and first rains seasons.
SHARK STORY;
This shark jumped from Mirrngatja to Malyangarnak and the Saratoga jumped from Mahjangarnak to Mirrngatja. When the shark came to Malyangarnak and the Saratoga went to Mirrngatja those two places swapped names, Malyangarnak was given the name Malyangarnak, we were told these stories by the two Traditional Owners of Malyangarnak who have now deceased but we still remember their stories.
To make fish traps and fish net fences artists firstly get vine (mirlarl) from the jungle and they put it in water for one night to make it soft. Next they start weaving it; they make rings for the inside to keep the fish trap’s shape. Artists work for three or four weeks on the fish trap. They also make string from kurrajong (burdaga) to attach the hibiscus (bardainy) rings and to tie the conical end of the fish trap. This fish trap is used in saltwater and freshwater. People also use fish net fences called mun-dirra. A long time ago they would put the mun-dirra across rivers and creeks. In the middle they would place the an-gujechiya. They also used small things like sticks, rocks, mud and grass to block the fish from going through. People would then catch fish like saltwater barramundi rajarra, freshwater barramundi (janambal), small black freshwater catfish (buliya), bonefish (an-guwirrpiya), and sand bass (dalakan) in these fish traps.
the water spirits Yawkyawk or Ngalkunburriyaymi are perhaps the most enigmatic of themes. 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 the painting. thus the kuninjku people sometimes call them Ngalberddjenj which literally means the women 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 dry land, particularly at night.
Today the kuninjku believe that ngalkunburriyaymi are alive and well 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 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 women 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 Yikarrakal Outstation where the Mann River has rugged rocky banks and clefts beneath stone overhangs in the water. 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 clas 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 dangkorlo clan, are well known for their bark paintings and sculptures of yawkyawk.
The techniques of bark painting are usually handed down from one generation to the next, as are the rights of each artist to a particular site or dreaming. The artists mother is a member of the Dangkorlo clan. This theme has often been painted by Flora’s father Mick Kubarkku.
Deborah Wurrkidj is a Kuninjku artist from the Kurulk clan whose country lies around the outstation of Mumeka in central Arnhem Land. She is an accomplished artist working across mediums including painting, sculpture, weaving and textile design. For this design, Deborah Wurrkidj has depicted Marebu (woven pandanus mats).
Works in fibre from the Maningrida region are widely recognised as some of the finest in Australia. Artists confidently push the boundaries of fibre craft and cultural expression, adapting traditional techniques and forms to produce strikingly inventive and aesthetically exquisite artworks.
Artists weave many different kinds of mats. Conical mats were traditionally used to shield babies from mosquitoes. Long flat mats were used for blocking creeks so that fish would be diverted into fish traps. A small triangular mat made of pandanus fibre used to be worn by women during ceremonial gatherings, tied around their back and covering them at the front. Mats are also used for wrapping and rinsing food in water.
Artists usually use kundayarr, pandanus spiralis, to weave decorative round or oblong mats, as well as the less common triangular and conical shapes. Weaving is physically hard work, now done only by women. They colour the pandanus using natural dyes made from the roots, leaves or flowers of plants within the weaver’s clan estate.
The radial woven patterns of the finest round mats appear to vibrate with colour, sometimes regarded as an aesthetic manifestation of deep cultural meaning, as there is a significant spiritual dimension to pandanus mats.
“Wubbunj is our traditional canoe. This design is the old history story of how people came to live in this place we call Maningrida. Two old people were staying on the other side of the saltwater, in Narlarrambarr area. The old people slept in a paper bark shelter and hunted on the water using their canoe.
A long time ago our people carved these canoes from the big paperbark trees. They had paddles with one person at the front, one at back, and other kids and passengers in the middle. Kunkot (paper bark) was used to make the sails which they would stand up and catch the wind.
One day these old people saw a new boat in their waters, which belonged to the Makassans (Indonesians). Those two old men saw the big Makassan boat coming in, and decided to paddle their canoe from Narlarrambarr to the other side (modern day Maningrida). We were scared of the Makassans, they gave us tobacco and tea, but they took many of our women.
When those two old people tasted that water at Maningrida from the Djomi spring, it was sweet freshwater and they decided to stay here. People here had no clothes in those time, we were just wearing string morkoi (loin cloths). Seven tribes were here then, but now in Maningrida there are lots more languages.” – Raylene Bonson
Deborah Wurrkidj is a Kuninjku artist from the Kurulk clan whose country lies around the outstation of Mumeka in central Arnhem Land. She is an accomplished artist working across mediums including painting, sculpture, weaving and textile design. For this design, Deborah Wurrkidj has depicted Marebu (woven pandanus mats).
Works in fibre from the Maningrida region are widely recognised as some of the finest in Australia. Artists confidently push the boundaries of fibre craft and cultural expression, adapting traditional techniques and forms to produce strikingly inventive and aesthetically exquisite artworks.
Artists weave many different kinds of mats. Conical mats were traditionally used to shield babies from mosquitoes. Long flat mats were used for blocking creeks so that fish would be diverted into fish traps. A small triangular mat made of pandanus fibre used to be worn by women during ceremonial gatherings, tied around their back and covering them at the front. Mats are also used for wrapping and rinsing food in water.
Artists usually use kundayarr, pandanus spiralis, to weave decorative round or oblong mats, as well as the less common triangular and conical shapes. Weaving is physically hard work, now done only by women. They colour the pandanus using natural dyes made from the roots, leaves or flowers of plants within the weaver’s clan estate.
The radial woven patterns of the finest round mats appear to vibrate with colour, sometimes regarded as an aesthetic manifestation of deep cultural meaning, as there is a significant spiritual dimension to pandanus mats.
The old plant dyes used in Europe like indigo, saffron, woad and logwood fell out of use with the Industrial Revolution. But here, a natural “paintbox” thrives.
The most common dyes include:
Yellow-orange: Mandjurndum (the bright orange roots of the Pognolobus reticulatus bush)
Brown: Wirdilwirdil (the red bulb of Haemadorum breviculae grass)
Green: The growing shoot of the pandanus itself (Pandanus spiralis), boiled with the ashes of pandanus leaves.
Purple-pink – Wirndilk (the seeds of the Haemodorum coccineum plant, related to Kangaroo Paw)
Grey-Black – Manbedde (the leaves of the quinine bush, Petalostigma pubescens)
Source: Louise Hamby (ed.) “Twined Together”.
The old plant dyes used in Europe like indigo, saffron, woad and logwood fell out of use with the Industrial Revolution. But here, a natural “paintbox” thrives.
The most common dyes include:
Yellow-orange: Mandjurndum (the bright orange roots of the Pognolobus reticulatus bush)
Brown: Wirdilwirdil (the red bulb of Haemadorum breviculae grass)
Green: The growing shoot of the pandanus itself (Pandanus spiralis), boiled with the ashes of pandanus leaves.
Purple-pink – Wirndilk (the seeds of the Haemodorum coccineum plant, related to Kangaroo Paw)
Grey-Black – Manbedde (the leaves of the quinine bush, Petalostigma pubescens)
Source: Louise Hamby (ed.) “Twined Together”.