August 2023

Galawon (Goanna)

This painting depicts two goannas embedded in an intricate depiction of gungara, the mini cyclones common during the wet season in Arnhem Land. Gungara also relates specifically to the Bilwoyinj site. At this site, two of the most important Kuninjku creation beings, a father and son, hunted and ate goanna. They left some goanna fat behind, which turned into the rock that still stands at the site today.

Galawon (Goanna)

This painting depicts two goannas embedded in an intricate depiction of gungara, the mini cyclones common during the wet season in Arnhem Land. Gungara also relates specifically to the Bilwoyinj site. At this site, two of the most important Kuninjku creation beings, a father and son, hunted and ate goanna. They left some goanna fat behind, which turned into the rock that still stands at the site today.

Mandjabugudukguduk

 Manjabukudukkurduk refers to a deep black waterhole that has deep spiritual significance as the site where Kuninjku people’s spirit comes into being and returns in death. The artists explains, “When we die our spirit will go back there… so this spirit will live forever, like we are still alive, we’re still living on that country”. It is linked to the Ancestral fish trap, which supports the growth and development of babies. This yirrididja moiety place is a potent site of Djang, Ancestral essence and power, meaning that if it is disturbed Kardbam people become sick and Kunkurra, the destructive cyclonic wind can be activated. Manjabukudukkurduk is also connected to other important songlines of the Kadbam clan estate, including Kalawon (goanna) and Ngalng (yabby).

Warraburnburn

In Burarra and Gun-nartpa languages the figure represented in this artwork is generally known as a wangarra ‘ghost spirit’. For the Warrawarra clan ghost spirits have their own particular characteristics and their own name – Warraburnburn.

The Warraburnburn and the closely related Galabarrbarr spirit (owned by the Balkarranga clan) are also manikay song topics.  The spirits are related to each other as maternal grandparent and grandchild, just as the people of Warrawarra and Balkarranga are. The dancing of the two ghost spirit figures forms the finale performance for funerals, and is the final goodbye to a deceased family member.

In many ways the Warraburnburn and Galabarrbarr ghost spirits are like people. They emerge from the patches of jungle on Warrawarra and Balkarranga country in the late afternoon and go hunting in family groups of men, women and children. They stay in contact with each other by calling out as the men hunt for fish and the women walk with their dillybags looking for vegetable food. 

The ghost spirits are associated closely with white ochre and artists commonly paint the bodies of carved figures in white. Different types of ghost spirit wear different patterns. Warraburnburn is decorated with uniform white dots while others are painted white all over. Some ghost spirits are shown with a design painted on their chest infilled with rarrk ‘cross-hatching’, the same designs that are painted onto japi an-guyinda ‘male initiations’. 

They also have supernatural characteristics including superhuman size (jarra anbaykarda ‘super tall’). They know the country intimately – some are malevolent towards humans and will lead people astray, taking them to unfamiliar and dangerous places. These malevolent spirits are likened to an-muburda ‘sorcerers’ and can conduct dangerous rituals that cause harm to people. Others are benign and will lead humans back to familiar paths and their own camps.

Warraburnburn

In Burarra and Gun-nartpa languages the figure represented in this artwork is generally known as a wangarra ‘ghost spirit’. For the Warrawarra clan ghost spirits have their own particular characteristics and their own name – Warraburnburn.

The Warraburnburn and the closely related Galabarrbarr spirit (owned by the Balkarranga clan) are also manikay song topics.  The spirits are related to each other as maternal grandparent and grandchild, just as the people of Warrawarra and Balkarranga are. The dancing of the two ghost spirit figures forms the finale performance for funerals, and is the final goodbye to a deceased family member.

In many ways the Warraburnburn and Galabarrbarr ghost spirits are like people. They emerge from the patches of jungle on Warrawarra and Balkarranga country in the late afternoon and go hunting in family groups of men, women and children. They stay in contact with each other by calling out as the men hunt for fish and the women walk with their dillybags looking for vegetable food. 

The ghost spirits are associated closely with white ochre and artists commonly paint the bodies of carved figures in white. Different types of ghost spirit wear different patterns. Warraburnburn is decorated with uniform white dots while others are painted white all over. Some ghost spirits are shown with a design painted on their chest infilled with rarrk ‘cross-hatching’, the same designs that are painted onto japi an-guyinda ‘male initiations’. 

They also have supernatural characteristics including superhuman size (jarra anbaykarda ‘super tall’). They know the country intimately – some are malevolent towards humans and will lead people astray, taking them to unfamiliar and dangerous places. These malevolent spirits are likened to an-muburda ‘sorcerers’ and can conduct dangerous rituals that cause harm to people. Others are benign and will lead humans back to familiar paths and their own camps.

Bark Painting

Aboriginal bark paintings have a long cultural tradition, believed to extend back many thousands of years.
In northern Australia, paintings on bark shelters in the Kimberley and Arnhem Land were stylistically similar to rock shelter paintings. The Aboriginal bark paintings were used to convey and illustrate stories which were told to the clan when holed up in the shelter for long periods in the wet season. In Kimberly, the Aboriginal bark paintings by Lily karadada resemble ancient rock art Wandjina paintings which are themselves many, many thousands of years old.

Bark paintings with deep cultural and ritual significance still feature in the Aboriginal sacred ceremonies of northern Australia and they, along with some coastal inhabitants are the only indigenous Aborigines still making traditional bark paintings.

The process of making a bark painting begins with choosing a suitable stringybark eucalyptus tree, preferably in the wet season when the sap is rising and the bark is fairly supple and easy to grip. After finding a section of bark that is devoid of knots and termite damage, cuts are made top and bottom and after some encouragement by tugging and prying, a hollow open cylinder of bark is removed. The bark sheet is trimmed and a fire made ready, over which the bark will be cured to drive out any moisture. The bark is then flattened to the ground with feet and then held down with heavy weights to ensure that it doesn’t curl or warp.

The Aboriginal bark painters of Arnhem Land adhere to four basic pigments – red, black, white and yellow. The reds and yellows come from ochres, crushed and powdered rocks. White comes from pipeclay and black generally comes from charcoal. Sometimes natural fixatives are mixed in to bind the pigments and which includes wax, yolk of eggs, resins and the sap of orchid plants. The paint can then be applied to the bark with perhaps a rarrk design by using a wood comb, or with brushes made from human hair or even feathers.

Bark Painting

Aboriginal bark paintings have a long cultural tradition, believed to extend back many thousands of years.
In northern Australia, paintings on bark shelters in the Kimberley and Arnhem Land were stylistically similar to rock shelter paintings. The Aboriginal bark paintings were used to convey and illustrate stories which were told to the clan when holed up in the shelter for long periods in the wet season. In Kimberly, the Aboriginal bark paintings by Lily karadada resemble ancient rock art Wandjina paintings which are themselves many, many thousands of years old.

Bark paintings with deep cultural and ritual significance still feature in the Aboriginal sacred ceremonies of northern Australia and they, along with some coastal inhabitants are the only indigenous Aborigines still making traditional bark paintings.

The process of making a bark painting begins with choosing a suitable stringybark eucalyptus tree, preferably in the wet season when the sap is rising and the bark is fairly supple and easy to grip. After finding a section of bark that is devoid of knots and termite damage, cuts are made top and bottom and after some encouragement by tugging and prying, a hollow open cylinder of bark is removed. The bark sheet is trimmed and a fire made ready, over which the bark will be cured to drive out any moisture. The bark is then flattened to the ground with feet and then held down with heavy weights to ensure that it doesn’t curl or warp.

The Aboriginal bark painters of Arnhem Land adhere to four basic pigments – red, black, white and yellow. The reds and yellows come from ochres, crushed and powdered rocks. White comes from pipeclay and black generally comes from charcoal. Sometimes natural fixatives are mixed in to bind the pigments and which includes wax, yolk of eggs, resins and the sap of orchid plants. The paint can then be applied to the bark with perhaps a rarrk design by using a wood comb, or with brushes made from human hair or even feathers.