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Wak Wak
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.
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Dirdbim (Moon Dreaming)
The images in this painting refer to a site in the clan estate of the artist, at a place called Dirdbim which literally means ‘image of the moon’. The site is a large, unusually round hole in sandstone, residual on the plain not far from the Mann River. Mick Kubarkku is an artist well known for his paintings of the full and new moons, the sun and the stars. He also taught several family members to paint this important dreaming. Here Lulu Laradjbi, Mick Kubarrkus’s wife, has painted the full and new moon called dird bukkulurl and lirrk kurrmeng in the Eastern Kunwinjku language.
The large hole is said to be the full moon created by the rainbow serpent Ngalyod, who pierced the rock in times of the ‘dreaming’ and left the shape of the full moon. Dirdbim is not far from the artists’ residence today at Yikarrakkal and the area is rich in rock art and old camping sites. As well there are numerous human remains, bones wrapped up in paper bark and older remains lying in clefts of sandstone shelters. The Eastern Kunwinjku people of the district have always used Dirdbim as a mortuary site because of the mythological history of the area which is connected to the moon story. This is because the mythology of the moon ancestor relates how his adversary, the spotted quoll, argued with the moon over the fate of humanity. The quoll decided he would die once and once only but the moon took his place in the sky to be reborn each lunar month. Because of this Kubarkku often painted this subject with bones or murrngno surrounding the image, just as human bones surround the actual site at Dirdbim.
The techniques of bark painting are usually handed down from one generation to the next, as are the rights of each artist to a particular site or ‘dreaming’. The similarity between this painting by Laradjbi, and some of her husband’s paintings is a reflection of this process of transmission.
111982330333
Dirdbim (Moon Dreaming)
The images in this painting refer to a site in the clan estate of the artist, at a place called Dirdbim which literally means ‘image of the moon’. The site is a large, unusually round hole in sandstone, residual on the plain not far from the Mann River. Mick Kubarkku is an artist well known for his paintings of the full and new moons, the sun and the stars. He also taught several family members to paint this important dreaming. Here Lulu Laradjbi, Mick Kubarrkus’s wife, has painted the full and new moon called dird bukkulurl and lirrk kurrmeng in the Eastern Kunwinjku language.
The large hole is said to be the full moon created by the rainbow serpent Ngalyod, who pierced the rock in times of the ‘dreaming’ and left the shape of the full moon. Dirdbim is not far from the artists’ residence today at Yikarrakkal and the area is rich in rock art and old camping sites. As well there are numerous human remains, bones wrapped up in paper bark and older remains lying in clefts of sandstone shelters. The Eastern Kunwinjku people of the district have always used Dirdbim as a mortuary site because of the mythological history of the area which is connected to the moon story. This is because the mythology of the moon ancestor relates how his adversary, the spotted quoll, argued with the moon over the fate of humanity. The quoll decided he would die once and once only but the moon took his place in the sky to be reborn each lunar month. Because of this Kubarkku often painted this subject with bones or murrngno surrounding the image, just as human bones surround the actual site at Dirdbim.
The techniques of bark painting are usually handed down from one generation to the next, as are the rights of each artist to a particular site or ‘dreaming’. The similarity between this painting by Laradjbi, and some of her husband’s paintings is a reflection of this process of transmission.
111982330331
Bush Jewellery – Earrings
The women of Maningrida and surrounding homelands use a combination of locally found seeds, bone and shells to make a variety of jewellery including necklaces. earrings and bracelets. Many of the artists use complex patterns and designs to make their beautiful creations.
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Bush Jewellery – Earrings
The women of Maningrida and surrounding homelands use a combination of locally found seeds, bone and shells to make a variety of jewellery including necklaces. earrings and bracelets. Many of the artists use complex patterns and designs to make their beautiful creations.
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Mat
Mats can vary greatly. Artists commonly use a mix of naturally dyed and undyed fibre to create a striking variation of coloured bands. Some artists also incorporate different types of looping to produce different patterns and textured finishes. Each type of mat, fibre bag, basket and dilly bag has its own name in the various languages spoken in the Maningrida region.
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Mat
Mats can vary greatly. Artists commonly use a mix of naturally dyed and undyed fibre to create a striking variation of coloured bands. Some artists also incorporate different types of looping to produce different patterns and textured finishes. Each type of mat, fibre bag, basket and dilly bag has its own name in the various languages spoken in the Maningrida region.
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View Of Country
The community of Ampilatwatja made a conscious decision not to paint ‘altyerr’ dreaming stories, the artists paint their country where those stories sit.
This painting shows the layered landscape of Alyawarr, Central Australia. Knowing your country is an important part of living in a remote community like Ampilatwatja. Knowing when and where to go hunting and gathering, knowing where there is ‘soakage’ (where you can dig for water), travelling with family for ceremonies, and maintaining a connection with the land.
“This is my country, my view of country.”
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bondock
Wood carving has always been part of Aboriginal culture and Djilpin artists continue this tradition. Men carved wood for many purposes – tools for hunting or gathering food, axes and knives for building shelters, spears and clubs for protection of their lives and territory, objects for ceremony and to mark sacred sites.
Hunting implements include the boomerang, woomera and spear. The woomera is a lever which helps to increase the speed and distance the spear travels. Clapsticks are used as percussion instruments by the Songmen to accompany dancing along with the didgeridoo (mago).
As well as the more functional carvings, artists portray animals and birds in wood, and these carvings are often painted. Ceremonial carvings include spirit creatures including mukuy (devil devils) and mimi.
Some fine mimi figures have been cast in bronze.