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111982361762

Bawáliba

‘Bawáliba is the djang (Dreaming) of my mother and my uncles. They are good spirits, they protect us and they recognise families. They are really tall- just like human beings, like us. They dance late at night and have a lot of hair.

In olden times, long long long time ago Bawáliba were here, before people were on the land. Bawáliba used to go out hunting and care for country. They hunt carrying fish traps and digging sticks, near the homeland Djinkarr. They go out hunting on the floodplains with dilly bags and digging sticks. They collect a lot of bush foods, and sleep together with one bark shelter.
Sometimes now they still come alive when we sleep, they might come to our houses and peep through the window. At night, they cover themselves with white clay and red cloth tied around their waist. If we hear them, we jump out of bed and get up to look -but they have disappeared, they’re just too quick. Bawáliba might knock on the window to remind us they are there looking out for us.If you listen deeply you can hear them whisper, sometimes they talk about us and might say, ‘why are those people making camp here?’ then they realise ‘Oh they are family from here, it’s ok, they are just sleeping here for the night’.

During the day they always turn into stone and they sleep. We still know that green rock covered in moss near Djinkarr, that’s Bawáliba sleeping.
Some of my ancestors used to speak the same language as the Bawaliba, but all those old people are passed away now. It’s a little bit sad for us, because no one now can speak that Bawaliba language anymore.’ Lucy Yarawanga 2019

By CompNet Systems, ago

111982361761

Bawáliba

‘Bawáliba is the djang (Dreaming) of my mother and my uncles. They are good spirits, they protect us and they recognise families. They are really tall- just like human beings, like us. They dance late at night and have a lot of hair.

In olden times, long long long time ago Bawáliba were here, before people were on the land. Bawáliba used to go out hunting and care for country. They hunt carrying fish traps and digging sticks, near the homeland Djinkarr. They go out hunting on the floodplains with dilly bags and digging sticks. They collect a lot of bush foods, and sleep together with one bark shelter.
Sometimes now they still come alive when we sleep, they might come to our houses and peep through the window. At night, they cover themselves with white clay and red cloth tied around their waist. If we hear them, we jump out of bed and get up to look -but they have disappeared, they’re just too quick. Bawáliba might knock on the window to remind us they are there looking out for us.If you listen deeply you can hear them whisper, sometimes they talk about us and might say, ‘why are those people making camp here?’ then they realise ‘Oh they are family from here, it’s ok, they are just sleeping here for the night’.

During the day they always turn into stone and they sleep. We still know that green rock covered in moss near Djinkarr, that’s Bawáliba sleeping.
Some of my ancestors used to speak the same language as the Bawaliba, but all those old people are passed away now. It’s a little bit sad for us, because no one now can speak that Bawaliba language anymore.’ Lucy Yarawanga 2019

By CompNet Systems, ago

111982361759

Bawáliba and Ngalyod (Rainbow Serpent)

‘My Kikka (mother), when she was alive, she would tell me these stories. I was just a  little girl and she would tell us the stories in her language Gurrgoni.

In the camps there were boy and girl Bawaliba, and old Bawaliba too. They loved to  dance by the firelight, keeping rhythm with a stick. They had lots of hair, they were  really tall and skinny, with spots on their bodies. The Bawaliba lived a long time in  peace. They were the only spirits on their country and so they were never disturbed.

One day, a long time ago, the Bawaliba were out hunting and they saw a large  snake- they didn’t know then but she was the Rainbow Serpent. They were really  scared, they had never seen that creature before. She was really beautiful- like a  normal king brown snake but with a rainbow from the sky on her back. The rainbow  serpent was really hungry, and she could smell the Bawaliba from a long way away.  She was out looking for food.  The Bawaliba tried to stop Ngalyod coming for them but she was just too quick. She  snuck up behind the Bawaliba and before they could get away she ate them up.  When she was really full and couldn’t eat anymore Bawaliba she changed the rest of  them into stone. Still til this day, the Bawaliba stay on that same country as stones.’ 

Lucy Yarawanga

By CompNet Systems, ago

22544008033

Status: Stock

Boab nut (general)

Ngarinyin, Woddorda  (Worrorra) and Wunambal are the three main languages of the North Kimberley language families. The Boab Tree is known by Wurnambal people as Jungurri, in  Woddorda as Jungurim and in Ngarinyin as Jungulan jirri, Larrgari jirri and Malawudi jirri.

Boab or Larrgardi Trees (lt.: Adansonia Gregorii) – is an Australian native species only found in the Kimberley region of Western Australia. They are very recognisable due to their unusual shape – reminding one of a full-bodied bottle. Some trees are more then 1500 years old and can hold more than 100,000 litres of water in their trunks.

Every part of the tree is used either as a food-resource, as medicine or otherwise. Almost every part of the tree is edible from the young leaves and tubers to the internal fruit pods and seeds.

The tree produces beautiful large fragrant yellow flowers. Inside the fruit pod the fruit is naturally dried on the tree itself. This is the only fruit in the world that does this.

Indigenous artists carve designs into shell of the boab nut or paint it with different designs and children use it as a rattle. The designs on the nuts vary from Wandjina’s to different animals, like the Brolga, turtles, and fish to people’s faces and landscapes.

“Boab nut Carving was a way of expressing ones artistic skills. Aboriginal people across the Kimberley Region of Western Australia was carving along time ago it started with our ancestors.”

By CompNet Systems, ago

22544008031

Status: Stock

Boab nut (general)

Ngarinyin, Woddorda  (Worrorra) and Wunambal are the three main languages of the North Kimberley language families. The Boab Tree is known by Wurnambal people as Jungurri, in  Woddorda as Jungurim and in Ngarinyin as Jungulan jirri, Larrgari jirri and Malawudi jirri.

Boab or Larrgardi Trees (lt.: Adansonia Gregorii) – is an Australian native species only found in the Kimberley region of Western Australia. They are very recognisable due to their unusual shape – reminding one of a full-bodied bottle. Some trees are more then 1500 years old and can hold more than 100,000 litres of water in their trunks.

Every part of the tree is used either as a food-resource, as medicine or otherwise. Almost every part of the tree is edible from the young leaves and tubers to the internal fruit pods and seeds.

The tree produces beautiful large fragrant yellow flowers. Inside the fruit pod the fruit is naturally dried on the tree itself. This is the only fruit in the world that does this.

Indigenous artists carve designs into shell of the boab nut or paint it with different designs and children use it as a rattle. The designs on the nuts vary from Wandjina’s to different animals, like the Brolga, turtles, and fish to people’s faces and landscapes.

“Boab nut Carving was a way of expressing ones artistic skills. Aboriginal people across the Kimberley Region of Western Australia was carving along time ago it started with our ancestors.”

By CompNet Systems, ago

22024005092

Status: Stock

Mitjili Napurrula Watiya Tjuta Wrap Top, Black on White

In this design Mitjili Napurrula depicts her fathers Tjukurrpa, the ceremonial spear straightening in Uwalkari country (Gibson desert region). The Watiya Tjuta (Acacia Trees) are the trees that are used to make these spears. Uwalkari country is abundant with Watiya Tjuta, as well as sand hills and other plants. Mitjili paints the motif of the Watiya Tjuta, carrying on the recurring motif as her mother used to draw in the sand. Her mother passed on this Dreaming to her.

By CompNet Systems, ago

22024004933

Status: Stock

Mitjili Napurrula, Watiya Tjuta (Black on White), Flared Skirt

In this design Mitjili Napurrula depicts her fathers Tjukurrpa, the ceremonial spear straightening in Uwalkari country (Gibson desert region). The Watiya Tjuta (Acacia Trees) are the trees that are used to make these spears. Uwalkari country is abundant with Watiya Tjuta, as well as sand hills and other plants. Mitjili paints the motif of the Watiya Tjuta, carrying on the recurring motif as her mother used to draw in the sand. Her mother passed on this Dreaming to her.

By CompNet Systems, ago

22024004932

Status: Stock

Palazzo Pants in Mitjili Napurrual Watiya Tjuta Design (Black on White)

In this design Mitjili Napurrula depicts her fathers Tjukurrpa, the ceremonial spear straightening in Uwalkari country (Gibson desert region). The Watiya Tjuta (Acacia Trees) are the trees that are used to make these spears. Uwalkari country is abundant with Watiya Tjuta, as well as sand hills and other plants. Mitjili paints the motif of the Watiya Tjuta, carrying on the recurring motif as her mother used to draw in the sand. Her mother passed on this Dreaming to her.

By CompNet Systems, ago

22024004931

Status: Stock

Palazzo Pants in Mitjili Napurrual Watiya Tjuta Design (White on Black)

In this design Mitjili Napurrula depicts her fathers Tjukurrpa, the ceremonial spear straightening in Uwalkari country (Gibson desert region). The Watiya Tjuta (Acacia Trees) are the trees that are used to make these spears. Uwalkari country is abundant with Watiya Tjuta, as well as sand hills and other plants. Mitjili paints the motif of the Watiya Tjuta, carrying on the recurring motif as her mother used to draw in the sand. Her mother passed on this Dreaming to her.

By CompNet Systems, ago

111582361382

May Chapman Doing A Painting

Most often explored in Doreen’s works are the motifs of her everyday modern Aboriginal community life; the animals hunted and plants gathered for bush tucker, the cars and aeroplanes used to travel to the cities and remote communities she regularly moves between, and depictions of the Country itself. 

Collectively this imagery, depicted with Doreen’s trademark wild palettes, painterly brushstrokes, and stark compositions, builds a layered representation of her Country. Doreen’s intimately known ngurra (home Country, camp) is viewed from multiple spatial perspectives, and in stylistic modes ranging from pure abstraction to images incorporating realist and traditional elements.

Doreen’s ngurra encompasses the Country between Western Desert communities and towns; Warralong, Strelley, Marble Bar, Port Hedland, and Jigalong, her birthplace. People identify with their ngurra in terms of specific rights and responsibilities, and the possession of intimate knowledge of the physical and cultural properties of one’s Country. Painting ngurra, and in so doing sharing the Jukurrpa (Dreaming) stories and physical characteristics of that place, has today become an important means of cultural maintenance.

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