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Mandjabu

Kuninjku people traditionally make two sorts of conical fish traps. One is called mandjabu and is made from a strong, durable vine called milil, and a smaller one is called manylik mandjabu, and made from the grass manylik. The mandjabuconical fish trap is bigger and stronger and used in tidal reaches of creeks to catch large fish. The smaller, lighter manyliktrap is used in freshwater flowing creeks to catch smaller fish and freshwater prawns. In earlier times, only men were involved in the construction of the large fish traps, but children would often crawl inside and assist.

To make mandjabu, weavers firstly harvest milil (burney vine, Malaisia scandens) and put it in water overnight to make it soft. Then they start weaving it; they make rings for the inside to keep the fish trap’s shape. People also make string from the bark of burdaga (kurrajong) to attach the bardainy (hibiscus) rings and to tie the conical end of the fish trap. It’s hard work and it can take three or four weeks to make a fish trap. People also use fish-net fences called kunkarlewabe. They would put the kunkarlewabe  across rivers and creeks. In the middle they would place the mandjabu. They also used small things like sticks, rocks, mud and grass to block the fish from going through. This way we would catch fish such as saltwater barramundi rajarra, ngaldadmurrng (freshwater barramundi), small black freshwater catfish (buliya), bonefish (an-guwirrpiya), and sand bass (dalakan) in the mandjabu.

Name: Janet Marawarr


Language: Kune, Kuninjku


Community: Maningrida


Biography:

Janet Kalidjan Marawarr is a senior Kuninjku artist who has been creating textile-based artwork at Bábbarra Women’s Centre for almost 40 years. Also a skilled bark painter, Janet views her art practice as a way to explore color and experiment with new media to express her djang (ancestral creation stories). Her artistic journey has taken her to Paris, Los Angeles, New Zealand, and most recently, India.

In 2019, Janet traveled to Paris to launch the touring exhibition Jarracharra (Dry Season Wind), which featured her work. In 2022, she traveled to Los Angeles, where her work was included in the exhibition Aboriginal Screen-Printed Textiles from Australia’s Top End at the Fowler Museum, UCLA. In January 2023, Janet was invited by the Australian Consul-General in Kolkata to explore the textile-rich region of West Bengal as a guest of honor. During her 10-day visit, she shared her knowledge with various women’s groups, including the Bridging Culture and Art Foundation’s Kantha studio in Tushkhali, Sundarbans; Sadaf India Studio; and the Navajeevan Co-operative Society in Jajpur, Odisha.

'I saw the old people doing only lino with bush dye, no screen printing. I was 18 then and I’m 60 now, so it’s been 40 years. I used to watch my mum weave baskets, and I saw my grandfather painting, too. One day, I learned from him. I love printing and linocuts, printing my designs on textiles.' - Janet Marawarr, Artlink 2023


© the artist / art centre