“I can tell the story for my grandmother’s place, Wirrulyu. That’s her ngurra (home Country, camp), country. She was born in the bush near there. She’s Ningurra Naparrula Gibson. She’s an artist too.
Wirrulyu is a jurnu (soak), this side [west] of big rock, yapu (rock). It’s near to Kiwirrkurra community in WA.”
– Roma Gibson
This is Lorna’s Country- her ‘ngurra’ (home Country, camp). People identify with their ngurra in terms of specific rights and responsibilities, and the possession of intimate knowledge of the physical and cultural properties of one’s Country. Painting ngurra, and in so doing sharing the Jukurrpa (Dreaming) stories and physical characteristics of that place, has today become an important means of cultural maintenance.
Though Lorna was born in the Port Hedland hospital and she attended school from a young age, she still lived a somewhat traditional pujiman (traditional, desert dwelling) lifestyle, travelling in the Country between Marble Bar and Roebourne with ‘nomad people’. Today Lorna lives in Warralong Aboriginal community, 50km north of Marble Bar.
Portrayed in this work are features of Lorna’s ngurra, such as the dominant permanent red tali (sandhills), warta (trees, vegetation), and the individually named water sources she and her family camped at.
Baru (the crocodile man), was from the Gumatj clan. People usually call him Gurdu Gurdu or Baru which means crocodile. He lived his life at a place called Yirrkala. Living near him were other people, and when Baru didn’t have enough to eat he began to kill and eat these other people. After a while others noticed that some people were missing. When Baru went to the toilet, the people could smell this strong smell, so they knew that he ate the other people. Some men went to get help and they took message sticks to the other tribes. Some were sending smoke signals. When they came to Baru’s camp they started to spear him in the left side of his ribs. He dropped into the fire and burnt his left hand and maybe his right hand. He then ran into the bush and yelled to his countrymen – the animals, birds and fish that live on the land and in the sea. He stopped and he named the tribes and clans and also the places until he came to a place called Gamarru/Guyurru. There he took a rest and said to himself “This is where I stop and call this place Gamarru/Guyurru”. Baru, still in pain from the fire, then jumped into the water and turned himself into a crocodile. The fire left scars on his back. Baru paintings belong to Gumatj and Warrawarra and also the Marpi clan. This painting is used at death ceremonies or initiations and it normally is painted on the belly, which means the person the design is painted on is part of Gurdu Gurdu (the crocodile people).
Baru (the crocodile man), was from the Gumatj clan. People usually call him Gurdu Gurdu or Baru which means crocodile. He lived his life at a place called Yirrkala. Living near him were other people, and when Baru didn’t have enough to eat he began to kill and eat these other people. After a while others noticed that some people were missing. When Baru went to the toilet, the people could smell this strong smell, so they knew that he ate the other people. Some men went to get help and they took message sticks to the other tribes. Some were sending smoke signals. When they came to Baru’s camp they started to spear him in the left side of his ribs. He dropped into the fire and burnt his left hand and maybe his right hand. He then ran into the bush and yelled to his countrymen – the animals, birds and fish that live on the land and in the sea. He stopped and he named the tribes and clans and also the places until he came to a place called Gamarru/Guyurru. There he took a rest and said to himself “This is where I stop and call this place Gamarru/Guyurru”. Baru, still in pain from the fire, then jumped into the water and turned himself into a crocodile. The fire left scars on his back. Baru paintings belong to Gumatj and Warrawarra and also the Marpi clan. This painting is used at death ceremonies or initiations and it normally is painted on the belly, which means the person the design is painted on is part of Gurdu Gurdu (the crocodile people).
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 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).
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.
This design tells the story of Saratoga dreaming, a freshwater fish that swims on the edge of creeks and rivers. This design is the Saratoga dreaming from the Mularra songline. Where the Saratoga we call Murdulngu, Danguny travelled from Malmyangarnak billabong to Mirrigatja.
This Billabong was owned by Murdulngu (Saratoga) before the water was taken over by shark Barlangu he came all the way from east to north then to west. He was travelling when that water level was high he went up the stream but he couldn’t make it. This Barlangu came from Murruggun clan but really this shark came from long way all the way south. This story is connected through Mularra songline it represents many clans.
With permission from clan elders, Carol is able to pass on this family knowledge through her passion in textile and art.
‘I am proud of my first design, I want to keep this design for future, for my children and grandchildren so they remember this story, this story is a big part of the mularra songline’ Carol Liyawanga Campion
“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
“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