111982304538



An-gujechiya (Fish Trap)

To make fish traps and fish net fences artists firstly get vine (mirlarl) from the jungle and they put it in water for one night to make it soft. Next they start weaving it; they make rings for the inside to keep the fish trap’s shape. Artists work for three or four weeks on the fish trap. They also make string from kurrajong (burdaga) to attach the hibiscus (bardainy) rings and to tie the conical end of the fish trap. This fish trap is used in saltwater and freshwater. People also use fish net fences called mun-dirra. A long time ago they would put the mun-dirra across rivers and creeks. In the middle they would place the an-gujechiya. They also used small things like sticks, rocks, mud and grass to block the fish from going through. People would then catch fish like saltwater barramundi rajarra, freshwater barramundi (janambal), small black freshwater catfish (buliya), bonefish (an-guwirrpiya), and sand bass (dalakan) in these fish traps.

111982304537



Mun-dirra (fish fence)

To make fish traps and fish net fences artists firstly get vine (mirlarl) from the jungle and they put it in water for one night to make it soft. Next they start weaving it; they make rings for the inside to keep the fish trap’s shape. Artists work for three or four weeks on the fish trap. They also make string from kurrajong (burdaga) to attach the hibiscus (bardainy) rings and to tie the conical end of the fish trap. This fish trap is used in saltwater and freshwater. People also use fish net fences called mun-dirra. A long time ago they would put the mun-dirra across rivers and creeks. In the middle they would place the an-gujechiya. They also used small things like sticks, rocks, mud and grass to block the fish from going through. People would then catch fish like saltwater barramundi rajarra, freshwater barramundi (janambal), small black freshwater catfish (buliya), bonefish (an-guwirrpiya), and sand bass (dalakan) in these fish traps.

111982304536



An-gujechiya (Fish Trap)

To make fish traps and fish net fences artists firstly get vine (mirlarl) from the jungle and they put it in water for one night to make it soft. Next they start weaving it; they make rings for the inside to keep the fish trap’s shape. Artists work for three or four weeks on the fish trap. They also make string from kurrajong (burdaga) to attach the hibiscus (bardainy) rings and to tie the conical end of the fish trap. This fish trap is used in saltwater and freshwater. People also use fish net fences called mun-dirra. A long time ago they would put the mun-dirra across rivers and creeks. In the middle they would place the an-gujechiya. They also used small things like sticks, rocks, mud and grass to block the fish from going through. People would then catch fish like saltwater barramundi rajarra, freshwater barramundi (janambal), small black freshwater catfish (buliya), bonefish (an-guwirrpiya), and sand bass (dalakan) in these fish traps.

111982304535



An-gujechiya (Fish Trap)

To make fish traps and fish net fences artists firstly get vine (mirlarl) from the jungle and they put it in water for one night to make it soft. Next they start weaving it; they make rings for the inside to keep the fish trap’s shape. Artists work for three or four weeks on the fish trap. They also make string from kurrajong (burdaga) to attach the hibiscus (bardainy) rings and to tie the conical end of the fish trap. This fish trap is used in saltwater and freshwater. People also use fish net fences called mun-dirra. A long time ago they would put the mun-dirra across rivers and creeks. In the middle they would place the an-gujechiya. They also used small things like sticks, rocks, mud and grass to block the fish from going through. People would then catch fish like saltwater barramundi rajarra, freshwater barramundi (janambal), small black freshwater catfish (buliya), bonefish (an-guwirrpiya), and sand bass (dalakan) in these fish traps.

111982304534



Birlmu or Namarnkorl (Barramundi)

It is well known that Aboriginal art often depicts images of sacred totems or dreamings of Aboriginal culture. However, the world of the non-sacred also provides a rich source of subject matter for Aboriginal art. Much of the rock art of western Arnhem Land for example features secular topics such as common food animals and plants, depicted because of their economic importance but also merely because of their existence in the environment. The artist has painted ‘birlmu’ or ‘namarnkorl’ (Barramundi [Lates calcarifer]). During the dry season the barramundi is an important food source for inland Aboriginal people. These fish are caught throughout the artist’s clan estate, either in fishtraps woven from pandanus or sedge grass, or else hunted with spears and fishing lines in billabongs and streams where they shelter from the sun under fallen logs or amongst the leaves of water plants.

111982304519



Yawkyawk (Ngalkunburriyaymi)

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. 

111982304518



Gomarla (Egret bird)

The artist has carved the ‘Gomarla’, which in the Burarra word for Egret. This bird is native to the country of Yilan, which is the coastal region North West of Maningrida Community. 

People use feathers from gomarla to make ceremonial regalia for Yirrichinga. Many Yirrichinga groups own manikay ‘song’ for gomarla.

Gomarla mun-baparrurr Gopungorra. Jin-gubatbatcha jin-banga jiny-yorkiya. Gomarla waykin makukuya mu-guyinda.

The egret belongs to the Gopungorra clan. It always eats grasshoppers. The egret is high in a nest (builds its nest in the tree).

111982304517



Gomarla (Egret bird)

The artist has carved the ‘Gomarla’, which in the Burarra word for Egret. This bird is native to the country of Yilan, which is the coastal region North West of Maningrida Community. 

People use feathers from gomarla to make ceremonial regalia for Yirrichinga. Many Yirrichinga groups own manikay ‘song’ for gomarla.

Gomarla mun-baparrurr Gopungorra. Jin-gubatbatcha jin-banga jiny-yorkiya. Gomarla waykin makukuya mu-guyinda.

The egret belongs to the Gopungorra clan. It always eats grasshoppers. The egret is high in a nest (builds its nest in the tree).

111982304516



Gomarla (Egret bird)

The artist has carved the ‘Gomarla’, which in the Burarra word for Egret. This bird is native to the country of Yilan, which is the coastal region North West of Maningrida Community. 

People use feathers from gomarla to make ceremonial regalia for Yirrichinga. Many Yirrichinga groups own manikay ‘song’ for gomarla.

Gomarla mun-baparrurr Gopungorra. Jin-gubatbatcha jin-banga jiny-yorkiya. Gomarla waykin makukuya mu-guyinda.

The egret belongs to the Gopungorra clan. It always eats grasshoppers. The egret is high in a nest (builds its nest in the tree).

111982304792



Ngokngok (Owl)

Ngokngok or mun-ngokngok is the Southern Boobook owl. Their clan is Warrawarra and the are connected to witch doctors and traditional healers.