The striking yellow – gold hue comes from the root of the man-kurdudjumuk plant (coelospermum reticulatum) which has been harvested from the sandy country near the flood plains. This laborious and tiring process requires digging up the entire shrub. The root is shaven into a pot of water and the colour is released into water through the boiling process.
The striking yellow – gold hue comes from the root of the man-kurdudjumuk plant (coelospermum reticulatum) which has been harvested from the sandy country near the flood plains. This laborious and tiring process requires digging up the entire shrub. The root is shaven into a pot of water and the colour is released into water through the boiling process. Ashes sprinkled into the mix create beautiful orange tones.
This silk has been dyed by Jocelyn at Bolkjam Outstation where she has been attending ceremony
Coil basketry is a well-established fibre art form in the Maningrida region, especially for women from the Kuninjku, Rembarrnga, Ndjebbana and Nakkara language groups.
Artists make coiled baskets of many shapes and sizes, ranging from small round baskets to large oval baby baskets, and made mostly from pandanus fibre that is dyed with natural pigments. Bundles of fibre are formed into coils which are covered and stitched together with strands of fibre threaded onto a needle. Artists combine colours and patterns to obtain intricate new graphic patterns.
These techniques are believed to have been introduced to Arnhem Land by Greta Matthews, a missionary on Goulburn Island in the 1920s. She had probably learnt coil basketry from Aboriginal people in the south-east of Australia, possibly the Murray River people such as the Yorta Yorta or the coastal Ngarrindjeri.
The coiling technique spread quickly from Goulburn Island to people on mainland Arnhem Land.
Coil basketry is a well-established fibre art form in the Maningrida region, especially for women from the Kuninjku, Rembarrnga, Ndjebbana and Nakkara language groups.
Artists make coiled baskets of many shapes and sizes, ranging from small round baskets to large oval baby baskets, and made mostly from pandanus fibre that is dyed with natural pigments. Bundles of fibre are formed into coils which are covered and stitched together with strands of fibre threaded onto a needle. Artists combine colours and patterns to obtain intricate new graphic patterns.
These techniques are believed to have been introduced to Arnhem Land by Greta Matthews, a missionary on Goulburn Island in the 1920s. She had probably learnt coil basketry from Aboriginal people in the south-east of Australia, possibly the Murray River people such as the Yorta Yorta or the coastal Ngarrindjeri.
The coiling technique spread quickly from Goulburn Island to people on mainland Arnhem Land.
Coil basketry is a well-established fibre art form in the Maningrida region, especially for women from the Kuninjku, Rembarrnga, Ndjebbana and Nakkara language groups.
Artists make coiled baskets of many shapes and sizes, ranging from small round baskets to large oval baby baskets, and made mostly from pandanus fibre that is dyed with natural pigments. Bundles of fibre are formed into coils which are covered and stitched together with strands of fibre threaded onto a needle. Artists combine colours and patterns to obtain intricate new graphic patterns.
These techniques are believed to have been introduced to Arnhem Land by Greta Matthews, a missionary on Goulburn Island in the 1920s. She had probably learnt coil basketry from Aboriginal people in the south-east of Australia, possibly the Murray River people such as the Yorta Yorta or the coastal Ngarrindjeri.
The coiling technique spread quickly from Goulburn Island to people on mainland Arnhem Land.
Coil basketry is a well-established fibre art form in the Maningrida region, especially for women from the Kuninjku, Rembarrnga, Ndjebbana and Nakkara language groups.
Artists make coiled baskets of many shapes and sizes, ranging from small round baskets to large oval baby baskets, and made mostly from pandanus fibre that is dyed with natural pigments. Bundles of fibre are formed into coils which are covered and stitched together with strands of fibre threaded onto a needle. Artists combine colours and patterns to obtain intricate new graphic patterns.
These techniques are believed to have been introduced to Arnhem Land by Greta Matthews, a missionary on Goulburn Island in the 1920s. She had probably learnt coil basketry from Aboriginal people in the south-east of Australia, possibly the Murray River people such as the Yorta Yorta or the coastal Ngarrindjeri.
The coiling technique spread quickly from Goulburn Island to people on mainland Arnhem Land.
This is a depiction of Ngalkunburriyaymi or Yawkyawk, the fish-women spirit. Sometimes compared to the European notion of mermaids, they exist as spiritual beings living in freshwater streams, particularly those in the stone country. These water spirits are perhaps the most enigmatic, and are usually described and depicted with the tails of fish. Thus the Kuninjku people sometime call them ngalberddjenj which literally means ‘the woman who has a tail like a fish’. They have long hair which is associated with trailing blooms of green algae (man-bak in Kuninjku) found in freshwater streams and rock pools. At times they leave their aquatic homes to walk about on dry land, particularly at night.
Aboriginal people believe that at one time all animals were humans. During the time of the creation of landscapes and plants and animals, these ancestor heroes in human form changed into their animal forms via a series of various significant events now recorded as oral mythologies. Today the Kuninjku believe that ngalkunburriyaymi are alive and well and living in freshwater sites in a number of sacred locations. The Kuninjku also believe that ‘clever’ man (magicians with mystical powers called na-kordang) may take these spirits as wives. The father of Mandarrk, a well known artist who resided in the Central Arnhem area, is said to have had such a spirit as a wife. Unfortunately, it is said, she failed one day to return from being sent to fetch water from the river, and returned to her kin. The ngalkunburriyaymi also have husbands and children of their own kind. Their sites are usually shared with the rainbow serpent ngalyod. Some have ritual importance, for example in some depictions, the yawkyawk spirit holds ceremonial string, just like the lengths of string women hold between both hands today during certain public ceremonies.
There are at least three major ngalkunburriyaymi sacred sites that are well known in the area south and south-west of Maningrida. One site Bolerrhlerr is on the Mann River at a place near Yikarrakkal Outstation where there are rugged rocky banks and clefts beneath stone overhangs in the water. Another very similar site further west in the Kumadderr River district is surrounded by a number of small but very old rock art sites and has become known in English as ‘Dreaming Lady’. A third site is a major yawkyawk dreaming place which is so significant that the traditional Dangkorlo clan custodians have set up an outstation near the site. The identity of this group is very much related to their yawkyawk dreaming for which they have spiritual and practical responsibility.
This is a depiction of Ngalkunburriyaymi or Yawkyawk, the fish-women spirit. Sometimes compared to the European notion of mermaids, they exist as spiritual beings living in freshwater streams, particularly those in the stone country. These water spirits are perhaps the most enigmatic, and are usually described and depicted with the tails of fish. Thus the Kuninjku people sometime call them ngalberddjenj which literally means ‘the woman who has a tail like a fish’. They have long hair which is associated with trailing blooms of green algae (man-bak in Kuninjku) found in freshwater streams and rock pools. At times they leave their aquatic homes to walk about on dry land, particularly at night.
Aboriginal people believe that at one time all animals were humans. During the time of the creation of landscapes and plants and animals, these ancestor heroes in human form changed into their animal forms via a series of various significant events now recorded as oral mythologies. Today the Kuninjku believe that ngalkunburriyaymi are alive and well and living in freshwater sites in a number of sacred locations. The Kuninjku also believe that ‘clever’ man (magicians with mystical powers called na-kordang) may take these spirits as wives. The father of Mandarrk, a well known artist who resided in the Central Arnhem area, is said to have had such a spirit as a wife. Unfortunately, it is said, she failed one day to return from being sent to fetch water from the river, and returned to her kin. The ngalkunburriyaymi also have husbands and children of their own kind. Their sites are usually shared with the rainbow serpent ngalyod. Some have ritual importance, for example in some depictions, the yawkyawk spirit holds ceremonial string, just like the lengths of string women hold between both hands today during certain public ceremonies.
There are at least three major ngalkunburriyaymi sacred sites that are well known in the area south and south-west of Maningrida. One site Bolerrhlerr is on the Mann River at a place near Yikarrakkal Outstation where there are rugged rocky banks and clefts beneath stone overhangs in the water. Another very similar site further west in the Kumadderr River district is surrounded by a number of small but very old rock art sites and has become known in English as ‘Dreaming Lady’. A third site is a major yawkyawk dreaming place which is so significant that the traditional Dangkorlo clan custodians have set up an outstation near the site. The identity of this group is very much related to their yawkyawk dreaming for which they have spiritual and practical responsibility.