In September, when we are looking for gum from the Blue Gum Tree, we walk through the spinifex country. We pick the gum when it is crystal colour, and we eat it, or put it into hot water to make it like a toffee. We call it sugar lolly.
In September, when we are looking for gum from the Blue Gum Tree, we walk through the spinifex country. We pick the gum when it is crystal colour, and we eat it, or put it into hot water to make it like a toffee. We call it sugar lolly.
Deborah Wurrkidj is a Kuninjku artist from the Kurulk clan whose country lies around the outstation of Mumeka in central Arnhem Land.
In this design she has depicted man-djarduk (red bush apples) – a sweet, crisp bush food that is a favourite to collect.
Man-djarduk fruits in kurrung and kunumeleng seasons, the build-up and first rains seasons.
Deborah Wurrkidj is a Kuninjku artist from the Kurulk clan whose country lies around the outstation of Mumeka in central Arnhem Land.
In this design she has depicted man-djarduk (red bush apples) – a sweet, crisp bush food that is a favourite to collect.
Man-djarduk fruits in kurrung and kunumeleng seasons, the build-up and first rains seasons.
Deborah Wurrkidj is a Kuninjku artist from the Kurulk clan whose country lies around the outstation of Mumeka in central Arnhem Land.
In this design she has depicted man-djarduk (red bush apples) – a sweet, crisp bush food that is a favourite to collect.
Man-djarduk fruits in kurrung and kunumeleng seasons, the build-up and first rains seasons.
This design 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.
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 design 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.
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 design 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.
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 design 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.
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 design 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.
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.