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Warraburnburn

In Burarra and Gun-nartpa languages the figure represented in this artwork is generally known as a wangarra ‘ghost spirit’. For the Warrawarra clan ghost spirits have their own particular characteristics and their own name – Warraburnburn.

The Warraburnburn and the closely related Galabarrbarr spirit (owned by the Balkarranga clan) are also manikay song topics.  The spirits are related to each other as maternal grandparent and grandchild, just as the people of Warrawarra and Balkarranga are. The dancing of the two ghost spirit figures forms the finale performance for funerals, and is the final goodbye to a deceased family member.

In many ways the Warraburnburn and Galabarrbarr ghost spirits are like people. They emerge from the patches of jungle on Warrawarra and Balkarranga country in the late afternoon and go hunting in family groups of men, women and children. They stay in contact with each other by calling out as the men hunt for fish and the women walk with their dillybags looking for vegetable food. 

The ghost spirits are associated closely with white ochre and artists commonly paint the bodies of carved figures in white. Different types of ghost spirit wear different patterns. Warraburnburn is decorated with uniform white dots while others are painted white all over. Some ghost spirits are shown with a design painted on their chest infilled with rarrk ‘cross-hatching’, the same designs that are painted onto japi an-guyinda ‘male initiations’. 

They also have supernatural characteristics including superhuman size (jarra anbaykarda ‘super tall’). They know the country intimately – some are malevolent towards humans and will lead people astray, taking them to unfamiliar and dangerous places. These malevolent spirits are likened to an-muburda ‘sorcerers’ and can conduct dangerous rituals that cause harm to people. Others are benign and will lead humans back to familiar paths and their own camps.

 

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Au-gujechiya (fishtrap)

A detailed linocut design portraying a large Au-gujechiya (fishtrap) with an-maka (cowtail stingray), rajarra (barramundi) and other fish inside. 

Elizabeth is from the Burrarra language group and her homeland is Gupanga, Arnhem Land.  

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Makéddja (Sea Turtle)

Makéddja means sea turtle in the Ndjébbana language of the Kunibidji people of Maningrida.

 

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Rrugurrgurda (Mud Crab)

This design tells the story of Elizabeth’s homeland – a dreaming place, a good dreaming place with plentiful mud crabs. Elizabeth’s homeland lies east of Maningrida, at the mouth of Blyth river. This country is known for a large spiritual mud crab, which lives in the area.

Many families go and collect crabs to eat there with long sticks, or collect directly from the shores. Mud crabs hide in the muddy bottoms of estuaries and mangrove forests in areas surrounding Maningrida. After a king tide, a large cyclical tide that bring the crabs out from the mangroves, it is a good time to find crabs.

Rrugurrgurda (mud crabs) is pronounced Ahh-rewg-gurd-gurda in the Burarra language. Rrugurrgurda are good baladji (bush food in Burarra) and can be caught all year round. They are put on the fire to cook and they are ready when they turn a bright orange colour.

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Kunmadj

Kunmadj is the Kuninjku term for large woven collecting baskets, known as dillybags.

They are often made from the burney vine (Malaisia scandens), a strong, pliable plant that grows along the ground and into the canopy of monsoon vine thickets. The baskets are used to collect a variety of heavy foods, such as fish caught in conical fish traps or a good harvest of yams. As well as being of practical use, dillybags are of cultural significance to Arnhem Land people. Dillybags are totemic objects and they are associated with particular sites in the landscape.

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Au-gujechiya (fishtrap)

A detailed linocut design portraying a large Au-gujechiya (fishtrap) with an-maka (cowtail stingray), rajarra (barramundi) and other fish inside. 

Elizabeth is from the Burrarra language group and her homeland is Gupanga, Arnhem Land.  

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Mandjabu

Kuninjku people traditionally make two sorts of conical fish traps. One is called mandjabu and is made from a strong, durable vine called milil, and a smaller one is called manylik mandjabu, and made from the grass manylik. The mandjabuconical fish trap is bigger and stronger and used in tidal reaches of creeks to catch large fish. The smaller, lighter manyliktrap is used in freshwater flowing creeks to catch smaller fish and freshwater prawns. In earlier times, only men were involved in the construction of the large fish traps, but children would often crawl inside and assist.

To make mandjabu, weavers firstly harvest milil (burney vine, Malaisia scandens) and put it in water overnight to make it soft. Then they start weaving it; they make rings for the inside to keep the fish trap’s shape. People also make string from the bark of burdaga (kurrajong) to attach the bardainy (hibiscus) rings and to tie the conical end of the fish trap. It’s hard work and it can take three or four weeks to make a fish trap. People also use fish-net fences called kunkarlewabe. They would put the kunkarlewabe  across rivers and creeks. In the middle they would place the mandjabu. They also used small things like sticks, rocks, mud and grass to block the fish from going through. This way we would catch fish such as saltwater barramundi rajarra, ngaldadmurrng (freshwater barramundi), small black freshwater catfish (buliya), bonefish (an-guwirrpiya), and sand bass (dalakan) in the mandjabu.

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Kinga & Kunkih

A hand carved design depicting the story of Kinga & Kunkih (Crocodile and mud ripples) 

‘Kinga uses mud to hide in for hunting’ – Janet Marawarr 

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Merlemerle & Ngarradj

A hand carved block print depicting the story of Merlemerle & Ngarradj (Butterfly and Cockatoo) by Janet Marawarr.