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Garn’giny Ngarranggarni – Mabel Juli

Well this the dreamtime story about Wardal and Garn’giny (star and moon). That’s what my mother and dad told me about that Dreamtime thing.

“Garn’giny ngelmang roord-ngarri nginji.

The moon sits in the east.

Wardal dal gerloorr ngarrgalen.

The star sits on top of the hills.

Laarne berdij nginiyi danyi garn’giny.

The moon went and climbed that hill.

Wijige-ngarri ngoorramangbe-ngiyiwa thamboorroo-gal.

They made him run away because he loved his mother-in-law.

(That moon loved his mother in-law, but they told him he couldn’t love her and to go away.)

Ganybelgbe nginini.

He felt shame (and climbed up the hill).

Gerlewirring deg nginini.

He was looking from on top [of the hill].

Nginini-birri “Nanggayib barrroonnha.”

He told all the people “You will all die.”

Nginini-birri “Ngayimoowana mooliyinde ngenben’ge.

He told them “I will be the only one living”.

(He cursed those people.)

“Boora-boorab ngeliyande” wanemayi-birri melagawoom dam, woorrji-ngarri berrani yilag.

“I will keep coming back” he told them all, while they were sitting down below.

(You are all going to die and I will be still alive, coming out.)

“Daam merrgernbem boorarrgarr ngeliyande.”

“After three days camp I will rise from the dead.”

Nanggayibwa berrayin-gili namoowana ngininji.

They all died and he was the only one that stayed alive.

Merrgern daam nginji boorab ngidji, daam merrgernbem.”

He camps (sleeps ~ dies) for three days then appears (again as the moon), after three days.

This is Yarin country in Darrajayin (Springvale Station) which lies south of Warmun. This is Juli’s traditional country.

The star in the paintings is the promised wife of the moon, the straight skin to be his wife. He wanted dawool, the woman who became the black headed python who was the mother of wardal, the star, i.e. his mother-in-law.

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Bush Flowers

The artists of Ampilatwatja made a conscious decision not to paint ‘altyerr’ dreaming stories. The artists paint their country where those stories sit.

These bush flowers grow seasonly in Alyawarr country, some of which are also used in bush medicine remedies.

“When I go out hunting, I like to see all the bush flowers that are flowering and then when I come back, I paint them.”

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Springvale near Mabel Downs

“Well this one you know, our land, well before, no Gardiya (whitefella) was coming before… so I drew this one, like our ancestors from the Ngarrangarni (dreamtime), they lived in the cave, that’s their home, from long time before.

And this now (the rest of the painting), this is Mabel Downs today. And, before they didn’t have houses like that, and then Gardiya been coming along, and we been start to meet up with Gardiya. Our people meet up with Gardiya and Gardiya been build a house like that for us.

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My Country – Diane Kemarre Ross

The community of Ampilatwatja made a conscious decision not to paint ‘altyerr’ dreaming stories. The artists paint their country where those stories sit.

“This is my country, it’s the country around Irrultja. This is where we like to go after big rain. After big rain there, we can go swimming. There is always good hunting on my country. It is good for me to paint my country and it makes me feel good.” – Dianne

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My Grandmothers Country-Elizabeth Ngwarra Bonney

I still hunt my Grand Mothers country for goanna, bush medicine and yams.

I hunt all year round, hunting and walking through the country makes me happy.  When I look at the distant hills I can feel my grandmother.  Bush flowers are everywhere.

Painting my grandmother’s country reminds about those times.

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Great Grandmothers Country – Gunderson Kemarre Lewis

I paint my Great Grandmothers country around Canteen Creek.  Long time ago she hunted around this soakage in this country.   When I paint, I paint that country, the soakage the bushflowers the sandhills and the distant mountains.  I hunt this country now.

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Raypiny Dhawu (Fresh Water Story)

All Aboriginal people originate from a spiritual source, fixed in a particular place in their land or the sea. These ‘spiritual reservoirs’ are often in the form of special waterholes made by Wangarr (creative spirits) that were created long ago close to the beginning of time. These creator beings moved across the countryside, shaping the land and implanting in each tract of country, the spiritual life force for the people who were to own it. These creative spirits took many forms and when they gave the land to each group, they also gave songs, dances, ceremony, the associated laws and language.

 

The creation story for Ganalbingu people took place near the middle section of the Glyde River where it becomes the Goyder River. Their land, Ngaliyindi, sits astride the Arafura Swamp in Central Arnhem Land. Many Ganalbingu artists paint totemic species significant to their clan. These can include baru (crocodile), banda (long necked turtle), buliya (catfish), yalman (waterlilies), gumang (magpie geese), dakawa (fresh water yabby), ratjuk (barramundi), warrnyu (flying fox) and more.

 

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Fingerprints on Country by Kia Dowell

Kia has a strong traditional family Country connection to the Daiwul Ngarrangarni (Barramundi Dreaming) located at the place commonly known as Argyle Diamond Mine. She joined the Board of Gelganyem in 2017 and as Chair and female Director for the Tiltuwam daam, has focused on ensuring the voices, concerns, rights, and interests of Traditional Owners and Country are recognised by mining giant, Rio Tinto. This piece focuses on the tailings dam at Argyle. The centre of the image in deep red represents the bleeding of Country and the mixing of materials over the 30-plus-year life of the mine. The use of bloodwood is two-fold 1) to show level of harm to Country for the diamonds and 2) highlight the power of Country to heal. Bloodwood is a strong healer for us. To access and cover the tailings in closure, the company instructs contractors to create “fingers” working from the outside into the centre of the tailings dam. Traditional Owners have concerns about the environmental impact now and into the future. These fingers are symbolic of the many hands and fingers that have touched Country since the 1970’s and in my view, violated the rights of Country and the obligations of Traditional Owners to Country. Despite the impact of mining, there are areas of low impact as indicated by the hills. The pink and structures to the left are the ongoing changes to Country that take place in closure. The black represents the anger and grief of multiple generations of Traditional Owners.