February 2023

111982197549

Lorrkon (Hollow Log)

The Lorrkon or bone pole coffin ceremony was the final ceremony in a sequence of mortuary rituals celebrated by the people of Arnhem Land. This ceremony involves the placing of the deceased’s bones into a hollow log which was decorated with painted clan designs and ceremonially placed into the ground where it remained until it slowly decayed over many years.

The log is made from a termite hollowed Stringybark tree (Eucalyptus tetradonta) and is decorated with totemic emblems. The western Arnhem Land version of the Lorrkon 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 mens’ 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, are painted with red ochre and placed inside the hollow log. This ceremony may take place many years after the person has died.

At first light on the final morning of the Lorrkon ceremony, the men appear, coming out of their secret bush camp carrying the pole towards the women’s camp. The two groups call to each other using distinct ceremonial calls. The women have prepared a hole for the pole to be placed into and when it is stood upright, women in particular kinship relationships to the deceased dance around the pole in a jumping/shuffling motion. The Lorrkon is then often covered with a tarpaulin and left to slowly decay.

By , ago

111982197548

Lorrkon (Hollow Log)

The Lorrkon or bone pole coffin ceremony was the final ceremony in a sequence of mortuary rituals celebrated by the people of Arnhem Land. This ceremony involves the placing of the deceased’s bones into a hollow log which was decorated with painted clan designs and ceremonially placed into the ground where it remained until it slowly decayed over many years.

The log is made from a termite hollowed Stringybark tree (Eucalyptus tetradonta) and is decorated with totemic emblems. The western Arnhem Land version of the Lorrkon 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 mens’ 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, are painted with red ochre and placed inside the hollow log. This ceremony may take place many years after the person has died.

At first light on the final morning of the Lorrkon ceremony, the men appear, coming out of their secret bush camp carrying the pole towards the women’s camp. The two groups call to each other using distinct ceremonial calls. The women have prepared a hole for the pole to be placed into and when it is stood upright, women in particular kinship relationships to the deceased dance around the pole in a jumping/shuffling motion. The Lorrkon is then often covered with a tarpaulin and left to slowly decay.

By , ago

377810582197546

Makassan Boat

‘This is from before when Aboriginal people were using canoe. When the Makassan came my ancestors paddled to the Makassan boats in their canoe and gave the Makassan’s food from our country.

Before white man the Makassan travelled around and traded tobacco, rice, flour, sugar, square teabag  made of leaves. My old man used to tall me these stories.’ 

Joy Garlbin 2022

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377810582197531

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).

By , ago

377810582197527

Lorrkon

‘This is my new lino design, a long time ago when people passed away they used to put bones inside the lorrkon (hollow funeral log). This is an old history story. There is string and feathers on the side, that’s kunyarl. They put parrot feathers on the djerrh (dilly bag).

When I design lino, I think back to stories from when I was a little girl when I was staying at Barrihdjowkkeng next to Mumeka, with my mother and my father when he was still alive. I remember my dad used to make mimih, carrying all the wood. I used to help him when I was a little girl.’

Raylene Bonson

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377810582197521

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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111982197517

Wurum (Fish Increasing Spirit)

Aboriginal people throughout Australia undertook rituals, which were designed to result in the increase of various natural species. The Rembarrnga people of Central Arnhem Land tell of the spirit being Wurum who had a human form and carried fish in dilly bags. He is sometimes depicted with fins called konno on his legs and arms suggesting a transformational human-fish nature.

In order to create an abundance of certain fish species, Rembarrnga people would draw an image of Wurum on the side of a tree. They would then call out the following invocation; Deny ngarra-jalman ngarr-mangara, ‘We want to get fish’. Following this they would sleep for a night and then it is said that there would be an increase in fish.
Wurum is associated with a site called Kukaddjerre in Balngarra clan estate south of Maningrida. The Wurum also has a further function.

Burruwal described the paperbark Wurum he constructed as the ‘true’ or original form. This suggests that the more solid wooden carving may have been a later innovation. The artist told that ‘in the early days’ these paperbark figures would be placed, standing upright, around a mortuary site for two distinct purposes; to watch and ward off evil spirits, and to signal to people the presence of a mortuary location, so they could find or stay clear of it.

The ability of a contemporary artist like Burruwal to make these highly traditional paperbark figures – a relic of a bygone era – underscores the intimate spiritual links Burruwal has to his personal ancestry.

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