May 2025

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Bondok

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.

By CompNet Systems, ago

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Goanna

Fibre Art is an ancient Aboriginal women’s craft that is still made today using the same techniques as their ancestors. Making fibre art is labour intensive and much care and fine needlework is required to ensure the finished object is both functional and beautiful. Fibre art from Ghunmarn Culture Centre includes dilly bags, floor mats, bush fans, woven creatures found in the landscape, plants such as yams (bush potato), baskets, place mats, and spirit figures such as mermaids and Mukuys. Natural pandanus fibre (Mukarra), is used to make much of the fibre art produced by the artists of Djilpin Arts. Women collect the pandanus by pulling from the top of the pandanus tree, then stripping and drying the leaves before they are dyed with natural bush colour collected from the Beswick surrounds.

By CompNet Systems, ago

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Dilly Bag

Fibre Art is an ancient Aboriginal women’s craft that is still made today using the same techniques as their ancestors. Making fibre art is labour intensive and much care and fine needlework is required to ensure the finished object is both functional and beautiful. Fibre art from Ghunmarn Culture Centre includes dilly bags, floor mats, bush fans, woven creatures found in the landscape, plants such as yams (bush potato), baskets, place mats, and spirit figures such as mermaids and Mukuys. Natural pandanus fibre (Mukarra), is used to make much of the fibre art produced by the artists of Djilpin Arts. Women collect the pandanus by pulling from the top of the pandanus tree, then stripping and drying the leaves before they are dyed with natural bush colour collected from the Beswick surrounds.

By CompNet Systems, ago

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Dilly Bag

Fibre Art is an ancient Aboriginal women’s craft that is still made today using the same techniques as their ancestors. Making fibre art is labour intensive and much care and fine needlework is required to ensure the finished object is both functional and beautiful. Fibre art from Ghunmarn Culture Centre includes dilly bags, floor mats, bush fans, woven creatures found in the landscape, plants such as yams (bush potato), baskets, place mats, and spirit figures such as mermaids and Mukuys. Natural pandanus fibre (Mukarra), is used to make much of the fibre art produced by the artists of Djilpin Arts. Women collect the pandanus by pulling from the top of the pandanus tree, then stripping and drying the leaves before they are dyed with natural bush colour collected from the Beswick surrounds.

By CompNet Systems, ago

221382365140

Dilly Bag

Fibre Art is an ancient Aboriginal women’s craft that is still made today using the same techniques as their ancestors. Making fibre art is labour intensive and much care and fine needlework is required to ensure the finished object is both functional and beautiful. Fibre art from Ghunmarn Culture Centre includes dilly bags, floor mats, bush fans, woven creatures found in the landscape, plants such as yams (bush potato), baskets, place mats, and spirit figures such as mermaids and Mukuys. Natural pandanus fibre (Mukarra), is used to make much of the fibre art produced by the artists of Djilpin Arts. Women collect the pandanus by pulling from the top of the pandanus tree, then stripping and drying the leaves before they are dyed with natural bush colour collected from the Beswick surrounds.

By CompNet Systems, ago

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Long Neck Turtle – Nyangura

Nyangura the Long-Neck Tortoise is Yirritja. The two sacred ancestral Nyangura are found at a place called Djirringi in north-central Arnhem Lane on Ganalbingu land. The tracks left by the two ancestral totemic Nyangura, as they crawled over the land at Djirringi, is a sacred symbol. This symbol is used as a ground design or sand sculpture during cleansing ceremonies otherwise known as Bulu-Lup or Wan’tjirr. During this ceremony, water is poured over the bodies of Yolngu relatives of the deceased as they stand within the sacred ground design representing the marks left on the ground by the two original ancestral Nyangura at Djirringi. Yolngu also dance Nyangura during bunggul ceremonies. Here they may paint the design for Nyanguru and other designs. Nyangura is also food for Yolngu. It is cooked and cut according to age old tradition. The artist has depicted four Long Neck Turtle’s in this painting.

By CompNet Systems, ago

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Luma Luma relates to the coming of sacred power, Mardayin, and the establishment of ritual practices and initiations, such as the Kunapipi, Wubarr, and eventually the Lorrkon burial ceremonies.

Luma Luma also introduced the ritual paraphernalia and the sacred clan patterns that are painted onto these objects and onto the torsos of the ceremonial participants, as well as onto sheets of bark today.

By CompNet Systems, ago

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Gananhdharr (white heron)

This sculpture represents the Gananhdharr song line. Gananhdharr (white heron) can be seen at low tide searching for goya (fish) particularly garkuyi (mullet). They hunt alongside their ŋäṉḏi (mother), Ngulungulu (grey heron), at low tide, across the flood plains and amongst larrtha (mangroves).

“When you look in the distance, when the tides out, you see Gananhdharr and Ngulungulu and think you see human beings fishing. The sun gives the illusion they are taller.  That’s how we sing the song and dance.”

By CompNet Systems, ago

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View Of Country

This 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.”

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

 

By CompNet Systems, ago