Goya (fish)
Goya (fish) carving carving made from Buffalo horn
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Pelican (Warbalulu)
JB paints stories from his Dhuwa homeland in northeast Arnhem Land. Stories are passed on either paternally or maternally, and JB would have learnt these stories from his ancestors. The cross-hatching style is a traditional painting style of this area and can represent elements such as water, air and wind.
His paintings often feature totemic animals of the fresh waters of north east Arnhem Land.
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Raypiny Dhawu (Fresh Water Story)
All Aboriginal people 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 Wangarr (creative spirits) that were created long ago close to the beginning of time. These creator beings moved across the countryside, shaping the land and implanting in each tract of country, the spiritual life force for the people who were to own it. These creative spirits took many forms and 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. Many Ganalbingu artists paint totemic species significant to their clan. These can include baru (crocodile), banda (long necked turtle), buliya (catfish), yalman (waterlilies), gumang (magpie geese), dakawa (fresh water yabby), ratjuk (barramundi), warrnyu (flying fox) and more.
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Mili & Yunga
I am Kuku Nyungkul from Shipton Flat area and have spent a lot of time camping out on Country collecting and hunting bush foods with my family.
My painting depicts my totem, the Mili (Stinging Tree Dendrocnide moroides) and Yunga (Green Ants).
My grandmother is from Wujal Wujal where the Stinging Tree is known as Mili and my grandfather is from Coen where it is known as Appun.
The stinging tree has leaves which stings when you have contact with it, the leaves have hairs which get stuck to your skin if touched. The best medicine to use if you get stung is tobacco or your own urine.
My grandparents taught us children since we were a young age to collect Yunga for bush medicine to help get rid of the flu and runny nose
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Baral – Tracks
Our bubu (country) is like a storybook. Baral (tracks) tell you what animal is travelling around. Some of the tracks we see are from the kurriyala (snake), walkarr (lizard) and kadar (wallaby). We can track the animals we hunt by following their tracks. The waybala (whitefella) has bought new tracks into our country, shoes and mudaka (motorcar) and plenty of bulki (cattle).
I’m painting the bird and animal tracks you find on the beach. You can see them going this way and that way. Everywhere!
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Kunred Kodbarre (The Louvre)
“This design is new and tells a different story of when I went to Paris. This building in the middle of my design is the Louvre. We went and saw that big building made of glass, and there were lots of people walking around. In Paris, there is a big creek made from bricks, with water flowing through the city. I have painted it here too, with the light poles next to it. There are so many tall buildings in Paris. When I see this design, I remember everything about my trip to Paris. For this design I had the idea of putting our Aboriginal bush tucker around the Louvre, so the plants here are kundayarr (pandanus), wayuk (water lily) and karrbarda (long yam). I painted some French trees too’.
In 2019 five artists from Babbarra Women’s Centre travelled to France for the opening of their exhibition Jarracharra: Dry Season Wind. Deborah Wurrkidj, Jennifer Wurrkidj, Janet Marawarr, Jacinta Lami Lami and Elizabeth Kala Kala danced at the opening of the exhibition to a packed embassy gallery, and hosted various public panels including at the Musee du Quai Branly. The artists featured in Vogue magazine, wearing garments featuring their own printed designs on the balcony of the Ambassador to France, with a panoramic view of the Eiffel Tower in the background.
Inspired by the same voyage, on return to Maningrida Deborah Wurrkidj wove a sculpture of the Eiffel Tower out of naturally dyed pandanus, titled Ngaye ngawam nganang kunred kukimukken, kubba nakornamkuyeng karri (I travelled a long way away, to that place with the tall tower). The work was a finalist in the prestigious 2020 Telstra National Aboriginal & Torres Strait Islander Art Awards (NATSIAA).
The blue in this fabric is slightly more navy than pictured.
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Kunred Kodbarre (The Louvre)
“This design is new and tells a different story of when I went to Paris. This building in the middle of my design is the Louvre. We went and saw that big building made of glass, and there were lots of people walking around. In Paris, there is a big creek made from bricks, with water flowing through the city. I have painted it here too, with the light poles next to it. There are so many tall buildings in Paris. When I see this design, I remember everything about my trip to Paris. For this design I had the idea of putting our Aboriginal bush tucker around the Louvre, so the plants here are kundayarr (pandanus), wayuk (water lily) and karrbarda (long yam). I painted some French trees too’.
In 2019 five artists from Babbarra Women’s Centre travelled to France for the opening of their exhibition Jarracharra: Dry Season Wind. Deborah Wurrkidj, Jennifer Wurrkidj, Janet Marawarr, Jacinta Lami Lami and Elizabeth Kala Kala danced at the opening of the exhibition to a packed embassy gallery, and hosted various public panels including at the Musee du Quai Branly. The artists featured in Vogue magazine, wearing garments featuring their own printed designs on the balcony of the Ambassador to France, with a panoramic view of the Eiffel Tower in the background.
Inspired by the same voyage, on return to Maningrida Deborah Wurrkidj wove a sculpture of the Eiffel Tower out of naturally dyed pandanus, titled Ngaye ngawam nganang kunred kukimukken, kubba nakornamkuyeng karri (I travelled a long way away, to that place with the tall tower). The work was a finalist in the prestigious 2020 Telstra National Aboriginal & Torres Strait Islander Art Awards (NATSIAA).
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Lorrkkon
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.
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Manwak (Mumeka blooms)
Manwak grows near Mumeka creek, on the artist’s homeland. This beautiful large flower blooms during the mandjelk (wet season). It has deep green petals with a central red kernel which swells to the size of a berry. It is known for its long, sweeping petals which seem to dance in the winds.
By dry season, the inside kernel resembles a strawberry in appearance and flavour, but is also very spicy so it burns our mouth. Kids and adults pick these berries enthusiastically when walking or going hunting on my country. The inside of the flowers are eaten fresh, a favourite manme (bush food) of our people.
“When I was painting this Manwak story, I was painting in Maningrida. In my head I was dreaming of being on my homeland, eating ripe Manwak berries”- Deborah Wurrkidj
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Au-gujechiya (fishtrap)
Au-gujechiya (fishtrap) sometimes portrayed with an-maka (cowtail stingray), rajarra (barramundi) and other fish inside.
Elizabeth has permission from her djunkay to draw this historic and important object traditionally used to trap fish in rivers, creeks and estuaries. In the early wet season they swim upstream for breeding in creeks and billabongs, then downstream to spend the dry season in larger rivers. The traps would be set to face the oncoming fish, with woven fencing either side. Within the mouth of the trap is a woven funnel that guides the fish in and prevents their escape. The clever design ensures that only adult fish are caught as smaller fish can escape through the weaving or even through the funnel. The fish that are caught can survive in the trap for up to two months. Once the trap is removed, the end is untied to remove the fish. This sustainable design means the trap can be used again and again.
Elizabeth is from the Burrarra language group and her homeland is Gupanga, Arnhem Land.