Murnubbarr (magpie geese) are a waterbird found in abundance in the wetland areas of Kakadu and western Arnhem Land. Murnubbarr are a sustainably hunted and enjoyed manme (bush food). They are known to fly long distances, particularly in the wet season.
This single screen print was designed in 2003 by artist Kate Miwulku (dec).
This single screen print was designed in 2003 by artist Kate Miwulku (dec).
This design depicts the patterns of the freshwater mud ripples, which emerge after strong monsoonal wet seasons on the Djinkarr and Nangak flood plains.
These ripples form on the earth’s surface in delicate repetitive and shifting patterns. The mud ripples move, crack, disappear and re-emerge in response to the changing wind, rains and new sun.
The mud ripples depicted in this design are on Elizabeth’s homeland, the Djinkarr and Nangak floodplains south of Maningrida in Arnhem Land.
This design depicts the patterns of the freshwater mud ripples, which emerge after strong monsoonal wet seasons on the Djinkarr and Nangak flood plains.
These ripples form on the earth’s surface in delicate repetitive and shifting patterns. The mud ripples move, crack, disappear and re-emerge in response to the changing wind, rains and new sun.
The mud ripples depicted in this design are on Elizabeth’s homeland, the Djinkarr and Nangak floodplains south of Maningrida in Arnhem Land.
This design depicts the patterns of the freshwater mud ripples, which emerge after strong monsoonal wet seasons on the Djinkarr and Nangak flood plains.
These ripples form on the earth’s surface in delicate repetitive and shifting patterns. The mud ripples move, crack, disappear and re-emerge in response to the changing wind, rains and new sun.
The mud ripples depicted in this design are on Elizabeth’s homeland, the Djinkarr and Nangak floodplains south of Maningrida in Arnhem Land.
This design depicts the patterns of the freshwater mud ripples, which emerge after strong monsoonal wet seasons on the Djinkarr and Nangak flood plains.
These ripples form on the earth’s surface in delicate repetitive and shifting patterns. The mud ripples move, crack, disappear and re-emerge in response to the changing wind, rains and new sun.
The mud ripples depicted in this design are on Elizabeth’s homeland, the Djinkarr and Nangak floodplains south of Maningrida in Arnhem Land.
The Kuninjku people of Arnhem Land tell of a time when their ancestors suffered a terrible drought. People living in the rocky outlier region near the middle Mann River dug wells to get water until these too dried up. Then they obtained water by cutting the trunks of Melaleuca trees called djidjdjerok which store brackish water inside. When these trees were exhausted, people were surviving only on wild honey. Eventually people died of thirst. The bones of these people are said to be those found in the caves of the escarpment country of Western Arnhem Land in the Mann River district. In the ancestral time of creation was a great drought. During this time Buluwana and her family camped at Ngandarrayo on Kurulk clan land. They were weak from thirst and close to death. The malevolent gigantic form of the Death Adder snake confronted the group. Buluwana attempted to run away with the rest of her family but was crushed and turned to stone. Today an arrangement of rocks standing in the ground remains as Buluwana’s present day form. Only her head protrudes as a prismic standing stone, the rest of her body is under the ground. Other human remains lying on rock ledges are said to be the remains of other early ancestors. This painting is a reference to the very early time, before the people died. It depicts Buluwana superimposed on the background of crosshatching with her kun-madj (dilly bag) and digging stick. She is depicted at a site called Dilebang. Dilebang is regarded as one of the most dangerous and sacred of sites in the Kun-Kurulk clan estate. Travel in the area is undertaken with caution as site custodians are aware of the ancestral power of the area. The billabong at Dilebang is near escarpment country rich in rock art and with a high concentration of sacred sites. The use of rarrk (crosshatching) all over the surface of the bark painting creates a shimmering effect, which imbues the image with a spiritual power.
‘My designs, they are all alive living up in my head’- Janet Marawarr
Janet Marawarr has depicted kunkurra, the spiralling wind associated with several sites in the Kardbam clan. On one level, this design can be interpreted as a depiction of the kinds of mini-cyclones common during the wet season in Arnhem Land, where the artist lives. Kunkurra also relates specifically to a site called Bilwoyinj, near Mankorlod, on the artist’s clan estate.
At this site, two of the most important Kuninjku creation beings, a father and son known as na-korrkko, are believed to have hunted and eaten a goanna. They left some of the goanna fat behind at the site, which turned into the rock that still stands there today.
Bilwoyinj site is also a ceremonial ground for a ceremony called Yabbaduruwa, a major ceremony owned by the Yirridja patrimoiety. The Yabbaduruwa ceremony is primarily concerned with initiation, land ownership and promoting the cyclical regeneration of the human and natural worlds.
‘My designs, they are all alive living up in my head’- Janet Marawarr
Janet Marawarr has depicted kunkurra, the spiralling wind associated with several sites in the Kardbam clan. On one level, this design can be interpreted as a depiction of the kinds of mini-cyclones common during the wet season in Arnhem Land, where the artist lives. Kunkurra also relates specifically to a site called Bilwoyinj, near Mankorlod, on the artist’s clan estate.
At this site, two of the most important Kuninjku creation beings, a father and son known as na-korrkko, are believed to have hunted and eaten a goanna. They left some of the goanna fat behind at the site, which turned into the rock that still stands there today.
Bilwoyinj site is also a ceremonial ground for a ceremony called Yabbaduruwa, a major ceremony owned by the Yirridja patrimoiety. The Yabbaduruwa ceremony is primarily concerned with initiation, land ownership and promoting the cyclical regeneration of the human and natural worlds.