Yawkyawk is a word from the Aboriginal Kunwinjku language, meaning ‘young woman’ and ‘young woman spirit being’.
Sometimes compared to the European notion of mermaids, yawkyawks are usually depicted with the tails of fish. They have long hair, associated with trailing blooms of algae, typically found in Arnhem Land streams and rock pools.
Ngokngok or mun-ngokngok is the Southern Boobook owl. Their clan is Warrawarra and the are connected to witch doctors and traditional healers.
Ngokngok or mun-ngokngok is the Southern Boobook owl. Their clan is Warrawarra and the are connected to witch doctors and traditional healers.
Ngokngok or mun-ngokngok is the Southern Boobook owl. Their clan is Warrawarra and the are connected to witch doctors and traditional healers.
Ngokngok or mun-ngokngok is the Southern Boobook owl. Their clan is Warrawarra and the are connected to witch doctors and traditional healers.
This painting depicts a sacred site at ‘Kurrurldul’, an outstation south of Maningrida.
The ‘rarrk’, or abstract crosshatching, on this work represents the design for the crow totem ancestor called ‘Djimarr’. Today this being exists in the form of a rock, which is permanently submerged at the bottom of Kurrurldul Creek. The ‘Djimarr’ rock in the stream at Kurrurldul is said to move around and call out in a soft hooting tone at night. Both the stone itself and the area around it are considered sacred.
The imagery represents the rock mentioned above at the bottom of Kurrurldul creek, which is the final transmutation of the dreaming ancestor ‘Djimarr’. Finally, the pattern used here is also the crow design used in the sacred ‘Mardayin’ ceremony, which is a large regional patri-moiety ceremony now rarely conducted in central and eastern Arnhem Land.
This painting depicts a sacred site at ‘Kurrurldul’, an outstation south of Maningrida.
The ‘rarrk’, or abstract crosshatching, on this work represents the design for the crow totem ancestor called ‘Djimarr’. Today this being exists in the form of a rock, which is permanently submerged at the bottom of Kurrurldul Creek. The ‘Djimarr’ rock in the stream at Kurrurldul is said to move around and call out in a soft hooting tone at night. Both the stone itself and the area around it are considered sacred.
The imagery represents the rock mentioned above at the bottom of Kurrurldul creek, which is the final transmutation of the dreaming ancestor ‘Djimarr’. Finally, the pattern used here is also the crow design used in the sacred ‘Mardayin’ ceremony, which is a large regional patri-moiety ceremony now rarely conducted in central and eastern Arnhem Land.
This painting depicts a sacred site at ‘Kurrurldul’, an outstation south of Maningrida.
The ‘rarrk’, or abstract crosshatching, on this work represents the design for the crow totem ancestor called ‘Djimarr’. Today this being exists in the form of a rock, which is permanently submerged at the bottom of Kurrurldul Creek. The ‘Djimarr’ rock in the stream at Kurrurldul is said to move around and call out in a soft hooting tone at night. Both the stone itself and the area around it are considered sacred.
The imagery represents the rock mentioned above at the bottom of Kurrurldul creek, which is the final transmutation of the dreaming ancestor ‘Djimarr’. Finally, the pattern used here is also the crow design used in the sacred ‘Mardayin’ ceremony, which is a large regional patri-moiety ceremony now rarely conducted in central and eastern Arnhem Land.
This painting depicts a sacred site at ‘Kurrurldul’, an outstation south of Maningrida.
The ‘rarrk’, or abstract crosshatching, on this work represents the design for the crow totem ancestor called ‘Djimarr’. Today this being exists in the form of a rock, which is permanently submerged at the bottom of Kurrurldul Creek. The ‘Djimarr’ rock in the stream at Kurrurldul is said to move around and call out in a soft hooting tone at night. Both the stone itself and the area around it are considered sacred.
The imagery represents the rock mentioned above at the bottom of Kurrurldul creek, which is the final transmutation of the dreaming ancestor ‘Djimarr’. Finally, the pattern used here is also the crow design used in the sacred ‘Mardayin’ ceremony, which is a large regional patri-moiety ceremony now rarely conducted in central and eastern Arnhem Land.
Greg Wilson is the son of artist Terry Ngamandara, who was a senior custodian of the Gun-gulol Gu-rrenyjinga group of clans, which includes his own clans Girnimba and Garramirra. These clans are all land owners for different areas of the large swamp called Barlparnarra which lies to the north-west of Gochan Jiny-jirra outstation on the Cadell River. Barlparnarra is a complex of important sacred sites for the Jowunga moiety group throughout central Arnhem Land. It is associated with the creation myth of the two sisters, which has a number of versions celebrated throughout Arnhem Land. The sisters are commonly known as Djangkawu, but in the Barlparnarra version they are called Murlurlu. Many dreaming tracks of mythological beings associated with the two sisters converge at this site and ceremonies which celebrate their journeys are still held there.
The artist has depicted a key emblem for the Gun-gulol Gu-rrenyjinga clans. It is a design for gulach, the spike rush, also known as water chestnut (Eleocharis dulcis) that dominates the Barlparnarra swamp country. The emblem appears as triangular motifs which cover the entire painting. The spike rush plant has edible corms which form a food source for magpie geese, a key swamp game animal. People also dig and eat the sweet corms.