Na-méwaya (triangle fish net)
*Ndjébbana
A small fishing net or butterfly net of a traditional triangular design.
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MandjabuTop by The Social Studio
Kuninjku people traditionally make two sorts of conical fish traps. One is called mandjabu and is made from a strong, durable vine called milil, and a smaller one is called manylik mandjabu, and made from the grass manylik. The mandjabuconical fish trap is bigger and stronger and used in tidal reaches of creeks to catch large fish. The smaller, lighter manyliktrap is used in freshwater flowing creeks to catch smaller fish and freshwater prawns. In earlier times, only men were involved in the construction of the large fish traps, but children would often crawl inside and assist.
To make mandjabu, weavers firstly harvest milil (burney vine, Malaisia scandens) and put it in water overnight to make it soft. Then they start weaving it; they make rings for the inside to keep the fish trap’s shape. People also make string from the bark of burdaga (kurrajong) to attach the bardainy (hibiscus) rings and to tie the conical end of the fish trap. It’s hard work and it can take three or four weeks to make a fish trap. People also use fish-net fences called kunkarlewabe. They would put the kunkarlewabe across rivers and creeks. In the middle they would place the mandjabu. They also used small things like sticks, rocks, mud and grass to block the fish from going through. This way we would catch fish such as saltwater barramundi rajarra, ngaldadmurrng (freshwater barramundi), small black freshwater catfish (buliya), bonefish (an-guwirrpiya), and sand bass (dalakan) in the mandjabu.
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Octopus Top By the Social Studio
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Mábbarla (Jelly Fish)Top by The Social Studio
Mábbarla means Jelly Fish in Ndjébbana.
‘My homeland is Entrance island, Haulround island and Juda point. I really like Haulround island and that’s where we collect barruar (seagull egg). Entrance island is my favourite camping area, I go across with boat. Balanda (non-Aboriginal or European people) can’t go into those islands or Juda point without permission from me. We have a sacred totem ngaduma (palm tree) at those places and if people destroy it, we will have a strong wind and maybe a cyclone.’ Marilyn James 2021
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Wayuk -Top by The Social Studio
‘I always follow the footpath of my grandmother. I have too many stories of my grandmother. We went to the bush and ate bushtucker like yam, yabbie, barra, catfish and magpie goose. We didn’t come into town often, we were staying at Barrihdjowkkeng outstation. I learned how the old people used to live. I always think about my family out there and I keep going. My grandmother asked me to work with her for many years. I watched her making lino and screen printing. That’s why I stay in this job and I’m for the women’s centre’. Roseanna Bonson 2021
Roseanna’s first design is a 2 colour waterlily design. Wayuk (waterlily) *kuninjki grow in the swamps around Barrihdjowkkeng.
‘The flowers of the waterlily are white and yellow and I like that kind of colour.’ Roseanna Bonson 2021
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Mimih and Modjarrkki Top by The Social Studio
‘This is a true story. My great great grandfather and my father told this story and I tell it to my children. It’s about a freshwater crocodile called Modjarrkki. One day an unmarried man who was camping with his brother and his brothers wife went walking by himself. He came to a creek where he found a crocodile. He went back to camp and said to his brother ‘hey I found a croc, lets go kill it!’. He tried to kill the crocodile but the crocodile bit his brother. He bit his guts, his hand, his legs and he died. Modjarrkki was an angry crocodile but today Modjarkki doesn’t bite people, he’s only a little crocodile and he eats barramundi. He is still alive and he lives in rock country, Karrabarda, which is in Gorlobidahdah.’ Jay Rostron Jurrupula
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Bawáliba (Stone Country Mimih) Top by The Social Studio
‘Bawáliba is the djang (Dreaming) of my mother and my uncles. They are good spirits, they protect us and they recognise families. They are really tall- just like human beings, like us. They dance late at night and have a lot of hair.
In olden times, long long long time ago Bawáliba were here, before people were on the land. Bawáliba used to go out hunting and care for country. They hunt carrying fish traps and digging sticks, near the homeland Djinkarr. They go out hunting on the floodplains with dilly bags and digging sticks. They collect a lot of bush foods, and sleep together with one bark shelter.
Sometimes now they still come alive when we sleep, they might come to our houses and peep through the window. At night, they cover themselves with white clay and red cloth tied around their waist. If we hear them, we jump out of bed and get up to look -but they have disappeared, they’re just too quick. Bawáliba might knock on the window to remind us they are there looking out for us.If you listen deeply you can hear them whisper, sometimes they talk about us and might say, ‘why are those people making camp here?’ then they realise ‘Oh they are family from here, it’s ok, they are just sleeping here for the night’.
During the day they always turn into stone and they sleep. We still know that green rock covered in moss near Djinkarr, that’s Bawáliba sleeping.
Some of my ancestors used to speak the same language as the Bawaliba, but all those old people are passed away now. It’s a little bit sad for us, because no one now can speak that Bawaliba language anymore.’ Lucy Yarawanga 2019
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Djomi (Fresh Water Spirit) – Pant by The Social Studio
This design depicts the story of the artist’s ancestral dreaming, the Djomi fresh water spirit mermaid.
The Djomi figure is a mermaid like spirit with fish tail that lives in the fresh water stream that flows out to the sea cliff near Maningrida. Djomi is a known to be a very powerful fertility symbol.
‘If you go there you can get pregnant easily. Djomi has babies, and they can give others babies too. The Djomi spirit is so powerful, that women can end up with multiple babies at once, twins or sometimes even more. The Djomi spirits lay eggs near the sacred freshwater stream in Maningrida. Inside the eggs are human babies as well as young Djomi.
Men do not go near that swamp, because Djomi is so powerful that men might get pregnant there too. So men, they are too scared of that Djomi. When we visit the Djomi freshwater spring, we can hear young Djomi crying. They sound like normal babies crying, those Djomi spirits. They are looking for a mother.
This Djomi is my dreaming, I got permission from my djunguys to paint this Djomi design. For me I always ask my djunguy permission to paint, because that is our cultural way.
This design also depicts the fresh water lily leaves, and seaweed from the base of the sea floor.
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Wayuk – Top By The Social Studio
‘I always follow the footpath of my grandmother. I have too many stories of my grandmother. We went to the bush and ate bushtucker like yam, yabbie, barra, catfish and magpie goose. We didn’t come into town often, we were staying at Barrihdjowkkeng outstation. I learned how the old people used to live. I always think about my family out there and I keep going. My grandmother asked me to work with her for many years. I watched her making lino and screen printing. That’s why I stay in this job and I’m for the women’s centre’. Roseanna Bonson 2021
Roseanna’s first design is a 2 colour waterlily design. Wayuk (waterlily) *kuninjki grow in the swamps around Barrihdjowkkeng.
‘The flowers of the waterlily are white and yellow and I like that kind of colour.’ Roseanna Bonson 2021
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Kunronj (Freshwater Story) – Top by The Social Studio
Jennifer is a Kuninjku artist from the Kurulk clan whose country lies around the outstation of Mumeka in central Arnhem Land. Jennifer works at Bábbarra Women’s Centre alongside other members of her family who are also accomplished artists too: her mother, Helen Lanyinwanga (now deceased), sister Deborah Wurrkidj and daughter Abigail Namundja. She is a niece of Australia’s most highly acclaimed bark painter, John Mawurndjul, and she is renowned, in her own right, for her bark paintings, hollow logs and carved sculptures.
This design depicts important manme (food) sources from freshwater environments on Jennifer’s country and the implements used to gather these items. The kunkaninjor digging stick featured in the design is used to dig for wayuk (waterlily) roots in billabongs, which are eaten fresh from the water or cooked on an open fire. The kunkaninj is also used to find and dig freshwater komrdawh (northern snake-necked turtle) that hibernate on the floodplains during the dry season.
Various fish species including the birlmu (barramundi), as shown here, are hunted with a spear or trapped inside a woven fish trap. This manme is carried within kunmadj (woven bags), which are made with fibres from the pandanus tree or sedge grasses, then enjoyed together by the family back at camp.