CompNet Systems

111982291860

Ngalyod (Rainbow Serpent)

The rainbow serpent is a powerful mythological figure for all Aboriginal people throughout Australia. Characteristics of the rainbow serpent vary greatly from group to group and also depending on the site. Often viewed as a female generative figure, the rainbow serpent can sometimes also be male. She has both powers of creation and destruction and is most strongly associated with rain, monsoon seasons and of course the colour seen in rainbows which arc across the sky like a giant serpent. For Aboriginal people in Northern Australia, the rainbow serpent is said to be active during the wet season.

Known as Ngalyod in the Kuninjku language of western central Arnhem Land, the rainbow serpent is mostly associated with bodies of water such as billabongs, creeks, rivers and waterfalls where she resides. Therefore she is responsible for the production of most water plants such as water lilies, water vines, algae and palms, which grow near water. The roar of waterfalls in the escarpment country is said to be her voice. Large holes in stony banks of rivers and cliff faces are said to be her tracks. She is held in awe because of her apparent ability to renew her life by shedding her skin and emerging anew. Aboriginal myths about the rainbow serpent often describe her as a fearful creature that swallows humans only to regurgitate them, transformed by her blood. The white ochre used by artists to create the brilliant white paint for bark paintings, body decoration and in the past, rock art, is said to be the faeces of the rainbow serpent.

Aboriginal people today respect and care take sacred sites where the rainbow serpent is said to reside. Often certain activities are forbidden at these places for fear that the wrath of the great snake will cause sickness, accidents and even tempests. This is not always the case however and there are many rainbow serpent sites today where people may enter to hunt, fish or swim. By painting this figure on bark today, Aboriginal people are carrying on the longest uninterrupted mythological tradition in the world, which has been the subject of art and ceremony for possibly thousands of years.

By CompNet Systems, ago

111982291859

Ngalyod (Rainbow Serpent)

The rainbow serpent is a powerful mythological figure for all Aboriginal people throughout Australia. Characteristics of the rainbow serpent vary greatly from group to group and also depending on the site. Often viewed as a female generative figure, the rainbow serpent can sometimes also be male. She has both powers of creation and destruction and is most strongly associated with rain, monsoon seasons and of course the colour seen in rainbows which arc across the sky like a giant serpent. For Aboriginal people in Northern Australia, the rainbow serpent is said to be active during the wet season.

Known as Ngalyod in the Kuninjku language of western central Arnhem Land, the rainbow serpent is mostly associated with bodies of water such as billabongs, creeks, rivers and waterfalls where she resides. Therefore she is responsible for the production of most water plants such as water lilies, water vines, algae and palms, which grow near water. The roar of waterfalls in the escarpment country is said to be her voice. Large holes in stony banks of rivers and cliff faces are said to be her tracks. She is held in awe because of her apparent ability to renew her life by shedding her skin and emerging anew. Aboriginal myths about the rainbow serpent often describe her as a fearful creature that swallows humans only to regurgitate them, transformed by her blood. The white ochre used by artists to create the brilliant white paint for bark paintings, body decoration and in the past, rock art, is said to be the faeces of the rainbow serpent.

Aboriginal people today respect and care take sacred sites where the rainbow serpent is said to reside. Often certain activities are forbidden at these places for fear that the wrath of the great snake will cause sickness, accidents and even tempests. This is not always the case however and there are many rainbow serpent sites today where people may enter to hunt, fish or swim. By painting this figure on bark today, Aboriginal people are carrying on the longest uninterrupted mythological tradition in the world, which has been the subject of art and ceremony for possibly thousands of years.

By CompNet Systems, ago

111982291858

Ngalyod (Rainbow Serpent)

The rainbow serpent is a powerful mythological figure for all Aboriginal people throughout Australia. Characteristics of the rainbow serpent vary greatly from group to group and also depending on the site. Often viewed as a female generative figure, the rainbow serpent can sometimes also be male. She has both powers of creation and destruction and is most strongly associated with rain, monsoon seasons and of course the colour seen in rainbows which arc across the sky like a giant serpent. For Aboriginal people in Northern Australia, the rainbow serpent is said to be active during the wet season.

Known as Ngalyod in the Kuninjku language of western central Arnhem Land, the rainbow serpent is mostly associated with bodies of water such as billabongs, creeks, rivers and waterfalls where she resides. Therefore she is responsible for the production of most water plants such as water lilies, water vines, algae and palms, which grow near water. The roar of waterfalls in the escarpment country is said to be her voice. Large holes in stony banks of rivers and cliff faces are said to be her tracks. She is held in awe because of her apparent ability to renew her life by shedding her skin and emerging anew. Aboriginal myths about the rainbow serpent often describe her as a fearful creature that swallows humans only to regurgitate them, transformed by her blood. The white ochre used by artists to create the brilliant white paint for bark paintings, body decoration and in the past, rock art, is said to be the faeces of the rainbow serpent.

Aboriginal people today respect and care take sacred sites where the rainbow serpent is said to reside. Often certain activities are forbidden at these places for fear that the wrath of the great snake will cause sickness, accidents and even tempests. This is not always the case however and there are many rainbow serpent sites today where people may enter to hunt, fish or swim. By painting this figure on bark today, Aboriginal people are carrying on the longest uninterrupted mythological tradition in the world, which has been the subject of art and ceremony for possibly thousands of years.

By CompNet Systems, ago

377810582291825

Manyawok (Cheeky Yam)

This design depicts the cheeky yam, which is found on the artist’s country, near the outstation of Mumeka in central Arnhem Land. Yams are an important bush food that are collected during the wet season.

Unlike other yams that can be eaten roasted, the cheeky yam can be poisonous if not properly prepared. The preparation process of the yam traditionally takes two days. Firstly, the yams are dug up with a digging stick and boiled over a fire. They are then peeled and sliced into thin strips, which are placed in a special dillybag woven by women from pandanus leaves. The yam-laden dillybag is then strung from an overhanging branch into a river, so the bag just touches the flowing fresh water. The cheeky yams are left like this overnight to allow the running water to remove the toxins. The next morning, people return and collect the dillybag, and leave the yam pieces in full sunlight to dry out. Finally, when the yam pieces have dried in the sun for a day, they are ready to eat.

By CompNet Systems, ago

377810582291823

Manyawok (Cheeky Yam)

This design depicts the cheeky yam, which is found on the artist’s country, near the outstation of Mumeka in central Arnhem Land. Yams are an important bush food that are collected during the wet season.

Unlike other yams that can be eaten roasted, the cheeky yam can be poisonous if not properly prepared. The preparation process of the yam traditionally takes two days. Firstly, the yams are dug up with a digging stick and boiled over a fire. They are then peeled and sliced into thin strips, which are placed in a special dillybag woven by women from pandanus leaves. The yam-laden dillybag is then strung from an overhanging branch into a river, so the bag just touches the flowing fresh water. The cheeky yams are left like this overnight to allow the running water to remove the toxins. The next morning, people return and collect the dillybag, and leave the yam pieces in full sunlight to dry out. Finally, when the yam pieces have dried in the sun for a day, they are ready to eat.

By CompNet Systems, ago

377810582291822

Manyawok (Cheeky Yam)

This design depicts the cheeky yam, which is found on the artist’s country, near the outstation of Mumeka in central Arnhem Land. Yams are an important bush food that are collected during the wet season.

Unlike other yams that can be eaten roasted, the cheeky yam can be poisonous if not properly prepared. The preparation process of the yam traditionally takes two days. Firstly, the yams are dug up with a digging stick and boiled over a fire. They are then peeled and sliced into thin strips, which are placed in a special dillybag woven by women from pandanus leaves. The yam-laden dillybag is then strung from an overhanging branch into a river, so the bag just touches the flowing fresh water. The cheeky yams are left like this overnight to allow the running water to remove the toxins. The next morning, people return and collect the dillybag, and leave the yam pieces in full sunlight to dry out. Finally, when the yam pieces have dried in the sun for a day, they are ready to eat.

By CompNet Systems, ago

11151030788

Warinki

This artist primarily paints her country in the Canning Stock Route area. As a younger woman the artist lived and travelled traditionally with her family during the pujiman (bush) days. They travelled up and down the Stock Route from well 33 to well 38 and as far as Balgo. Well 33 is now known as Kunawarritji Community and is the artist’s ngurra (home).

By CompNet Systems, ago

111581425436

Untitled

Doreen first learned to paint alongside her mother, beginning her artistic career with Martumili Artists in March 2009 when she and the other women of Punmu painted a large collaborative artwork to raise funds for the community. Doreen is now an established artist in her own right, known for her loose, uninhibited painting style. As a deaf woman, painting is an important means of communication and expression for Doreen. As a deaf woman, painting is an important means of communication and expression for Doreen.

Doreen likes to paint the comings and goings of community life- the motorcars, aeroplanes and critters that populate her homes of Warralong, Punmu and Port Hedland.

By CompNet Systems, ago

111581426517

Kunalimpi

“Big water. Me and nanna walk around. Pujiman days. Nanna and me”. This painting portrays part of the artist’s country where their family lived traditionally during the pujiman (bush) days. The Martu lived very nomadically moving from water source to water source hunting and gathering bush tucker as they went. They would traverse very large distances visiting some areas in the dry and some in the wet season depending on the availability of water. As they travelled and hunted they would also burn areas of country creating a larger diversity of plant and animal life.

By CompNet Systems, ago