I am a Jalanji saltwater woman. Jalanji people have lots of stories about the reef. My painting’s story is about Mili (stinging jellyfish) stirring out on the reef.
We were taught at a young age to watch out because these mili sting and can be very dangerous. There are special plants that we can use on mili stings. Our elders passed on this knowledge to us.
Bana Yirriji Art Centre represents artists from the Yalanji, Nyungkul and Jalunji clan groups.
Bama (local people) have had a long history of artistic expression, including ceremonial body painting, weavings made from local plants, rainforest shields and weaponry decorated with clan designs using earth pigments.
Today, artists create stunning contemporary arts and crafts; including paintings, prints, works on paper, textiles, weavings, artefacts and a range of merchandise. Artists draw on their rich cultural, historic, and contemporary stories and profound connection to country as inspiration.
These clapsticks have been hand painted and represents the artists country and culture through designs and mark making.
Each pair is unique.
Bana Yirriji Art Centre represents artists from the Yalanji, Nyungkul and Jalunji clan groups.
Bama (local people) have had a long history of artistic expression, including ceremonial body painting, weavings made from local plants, rainforest shields and weaponry decorated with clan designs using earth pigments.
Today, artists create stunning contemporary arts and crafts; including paintings, prints, works on paper, textiles, weavings, artefacts and a range of merchandise. Artists draw on their rich cultural, historic, and contemporary stories and profound connection to country as inspiration.
These clapsticks have been hand painted and represents the artists country and culture through designs and mark making.
Each pair is unique.
Miṉḏirr (dilly bags) are made from gunga (Pandanus spiralis), baḻgurr (kurrajong) and natural bush dyes. The body of the miṉḏirr is made from gunga, and the handles from baḻgurr. Once the gunga fronds and baḻgurr bark have been collected, they are stripped and prepared then boiled with the dyes.
Miṉḏirr were used traditionally for every day utilitarian purposes, particularly collecting bush foods such as bäḻtji (yam). Traditionally, the baḻgurr handles were worn across the forehead while the body of the miṉḏirr sat at the back, between the shoulder blades making it easily accessible when collecting ŋatha (food).
Yawkyawk is a word from the Aboriginal Kuninjku language, meaning ‘young woman’ and ‘young woman spirit being’.
Sometimes compared to the European notion of mermaids, yawkyawks are usually depicted with the tails of fish. They have long hair, associated with trailing blooms of algae, typically found in Arnhem Land streams and rock pools.
The long necked turtle is a dreaming totem for the freshwater people, the Ganalbingu, whose country includes the World Heritage listed, Arafura Wetlands in Central Arnhem Land, Northern Territory
The Yolngu (people) of Arnhem Land originate from a spiritual source, fixed in a particular place in their land or the sea. These ‘Spiritual Reservoirs’ are often in the form of special waterholes made by Wangga (Creator Beings), long ago close to the beginning of time. These creator beings moved across the country side, shaping the land and implanting in each tract of country, the spiritual life force for the people who were to own it.
These creator spirits took many forms. When they gave the land to each group they also gave songs, dances, ceremony, the associated laws and language. The Creation story for Ganalbingu people took place near the middle section of the Glyde River where it becomes the Goyder River. Their land, Ngaliyindi, sits astride the Arafura Swamp in Central Arnhem Land. Some of their major Creative Beings include Banda (freshwater long neck turtle) and Yalman (water lilies).
Traditionally, Nganiyal (conical mats) were used as an insect screen when erected, and as a sitting mat when folded. They are used in Ceremony as well as a functional item.
Nowadays, artists weave many different shapes including flat, round and oblong.
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.
This painting is where the two sisters came along and get all the tools for hunting. They got ritjano and Damilipa (Blue Tongue Lizard). Ritjano is similar to a carrot, and grows abundantly in North East Arnhem Land. The vegetable is a staple food in traditional Yolngu culture, and has been a reliable food source when other foods are scarce. The ladies will collect and roast the ritjano, which has a very sweet flavour.
The sisters put all the bush food into their dilly bags.
This painting depicts Dhulumburrk (Nymphaea violacea), a fresh waterlily. The flowers and lily pads of fresh waterlilies can be seen far and wide across the Arafura wetlands, providing coverage for many animal species including Banda (long-necked turtle) and Baru (crocodile). The flowers come in many beautiful colours, in particular a vibrant purple. Evonne depicted her own way of interpreting waterlily roots and lotus roots.
“I want to tell you about my design, that Eiffel tower one.
This year it was my first time going to Paris. I didn’t know that place, nothing. We travelled around the world to get there, we flew underneath the world in an aeroplane.
Paris was a big, crowded city. They speak a different language there, just like here in Maningrida with all our different languages.
The Bábbarra artists and Ingrid, we were all walking around, like tourists. We went on the boat in the Paris river. There was a film crew taking videos of us. We saw so many beautiful buildings covered with black string (iron balconies) and big statues. We’d never seen things like that before.
I remember when we got off that boat and I looked up and saw that tower. When I first looked up at that tower, it made me happy- it’s so long up into the sky. We walked towards it. I was standing there watching that tower and thinking, ‘wow, first time for me seeing a tower like that’.
Then I was thinking, and I said to myself, when I go back to my own country, I’m going to paint that tower.
We came to Maningrida, I started to draw. I drew that tower from France, but also I drew maladj (stone country orphan spirit), women’s sacred woven mat, fish traps and rolk (insects). I also put round kunngol (clouds) in the design, those circles. That maladj spirit, it’s standing there next to the Eiffel tower, looking at the dancing lights at night. The tower is from Paris, but everything else in my design I took from my mother’s country and my father’s country.
Maybe one day I’ll travel back to France, and take my design with me to show them, all the French mob.” Janet Marawarr