Bawinanga Aboriginal Corporation

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Mandjabu (Fish Trap) – Susan Marawarr

“In old times people would make these mandjabu (fish traps) to go fishing. They are made with vine we find in the jungle. That old man, Anchor Gulunba, he showed me how to make these fish traps. I would sit there and watch him making them. We catch barramundi, catfish, all kinds of fish.” – Helen Lanyinwanga

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

To make fish traps and fish net fences artists firstly get vine (milil) from the jungle and they put it in water for one night to make it soft. Next they start weaving it; they make rings for the inside to keep the fish trap’s shape. Artists work for three or four weeks on the fish trap. They also make string from kurrajong (burdaga) to attach the hibiscus (bardainy) rings and to tie the conical end of the fish trap. This fish trap is used in saltwater and freshwater. People also use fish net fences called mun-dirra. A long time ago they would put the mun-dirra across rivers and creeks. In the middle they would place the an-gujechiya. They also used small things like sticks, rocks, mud and grass to block the fish from going through. People would then catch fish like saltwater barramundi rajarra, freshwater barramundi (janambal), small black freshwater catfish (buliya), bonefish (an-guwirrpiya), and sand bass (dalakan) in these fish traps.

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Mandjabu (Fish Trap) – Susan Marawarr

“In old times people would make these mandjabu (fish traps) to go fishing. They are made with vine we find in the jungle. That old man, Anchor Gulunba, he showed me how to make these fish traps. I would sit there and watch him making them. We catch barramundi, catfish, all kinds of fish.” – Helen Lanyinwanga

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

To make fish traps and fish net fences artists firstly get vine (milil) from the jungle and they put it in water for one night to make it soft. Next they start weaving it; they make rings for the inside to keep the fish trap’s shape. Artists work for three or four weeks on the fish trap. They also make string from kurrajong (burdaga) to attach the hibiscus (bardainy) rings and to tie the conical end of the fish trap. This fish trap is used in saltwater and freshwater. People also use fish net fences called mun-dirra. A long time ago they would put the mun-dirra across rivers and creeks. In the middle they would place the an-gujechiya. They also used small things like sticks, rocks, mud and grass to block the fish from going through. People would then catch fish like saltwater barramundi rajarra, freshwater barramundi (janambal), small black freshwater catfish (buliya), bonefish (an-guwirrpiya), and sand bass (dalakan) in these fish traps.

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Mandjabu (Fish Trap) – Susan Marawarr

“In old times people would make these mandjabu (fish traps) to go fishing. They are made with vine we find in the jungle. That old man, Anchor Gulunba, he showed me how to make these fish traps. I would sit there and watch him making them. We catch barramundi, catfish, all kinds of fish.” – Helen Lanyinwanga

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

To make fish traps and fish net fences artists firstly get vine (milil) from the jungle and they put it in water for one night to make it soft. Next they start weaving it; they make rings for the inside to keep the fish trap’s shape. Artists work for three or four weeks on the fish trap. They also make string from kurrajong (burdaga) to attach the hibiscus (bardainy) rings and to tie the conical end of the fish trap. This fish trap is used in saltwater and freshwater. People also use fish net fences called mun-dirra. A long time ago they would put the mun-dirra across rivers and creeks. In the middle they would place the an-gujechiya. They also used small things like sticks, rocks, mud and grass to block the fish from going through. People would then catch fish like saltwater barramundi rajarra, freshwater barramundi (janambal), small black freshwater catfish (buliya), bonefish (an-guwirrpiya), and sand bass (dalakan) in these fish traps.

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Mandjabu (Fish Trap) – Susan Marawarr

“In old times people would make these mandjabu (fish traps) to go fishing. They are made with vine we find in the jungle. That old man, Anchor Gulunba, he showed me how to make these fish traps. I would sit there and watch him making them. We catch barramundi, catfish, all kinds of fish.” – Helen Lanyinwanga

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

To make fish traps and fish net fences artists firstly get vine (milil) from the jungle and they put it in water for one night to make it soft. Next they start weaving it; they make rings for the inside to keep the fish trap’s shape. Artists work for three or four weeks on the fish trap. They also make string from kurrajong (burdaga) to attach the hibiscus (bardainy) rings and to tie the conical end of the fish trap. This fish trap is used in saltwater and freshwater. People also use fish net fences called mun-dirra. A long time ago they would put the mun-dirra across rivers and creeks. In the middle they would place the an-gujechiya. They also used small things like sticks, rocks, mud and grass to block the fish from going through. People would then catch fish like saltwater barramundi rajarra, freshwater barramundi (janambal), small black freshwater catfish (buliya), bonefish (an-guwirrpiya), and sand bass (dalakan) in these fish traps.

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Marebu (Floor Mat)

Deborah Wurrkidj is a Kuninjku artist from the Kurulk clan.

Wurrkidj’ country lies around the outstation of Mumeka in central Arnhem Land. She is an accomplished artist working across mediums including painting, sculpture, weaving and textile design. In her later years, Deborah has focused her efforts on mentoring her niece, Temika Namundja.

Works in fibre from the Maningrida region are widely recognised as some of the finest in Australia. Artists confidently push the boundaries of fibre craft and cultural expression, adapting traditional techniques and forms to produce strikingly inventive and aesthetically exquisite artworks.

Artists weave many different kinds of mats. Conical mats were traditionally used to shield babies from mosquitoes. Long flat mats were used for blocking creeks so that fish would be diverted into fish traps. A small triangular mat made of pandanus fibre used to be worn by women during ceremonial gatherings, tied around their back and covering them at the front. Mats are also used for wrapping and rinsing food in water.

Artists usually use kundayarr, pandanus spiralis, to weave decorative round or oblong mats, as well as the less common triangular and conical shapes. Weaving is physically hard work, now done only by women. They colour the pandanus using natural dyes made from the roots, leaves or flowers of plants within the weaver’s clan estate.

The radial woven patterns of the finest round mats appear to vibrate with colour, sometimes regarded as an aesthetic manifestation of deep cultural meaning, as there is a significant spiritual dimension to pandanus mats.

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Kalawan and Bush Flower

Woodblock print on handwoven silk, extract print with organic dyes, 100% Silk

Co-created by Bábbarra Women’s Centre, Maningrida and Tharangini Studio, India

Printed by artisans at Tharangini Studio 

Design brief by Bábbarra Women’s Centre Artists

Woodblock carving by Shri C.H. Sreeram and Shri S.K. Rajak

This fabric may feature the following woodblock designs. 

• Kunred (Country) byJanet Kalidjan Marawarr 
• Kundalk (Grasses) by Deborah Wurrkidj
• Ngaldjorlhbo (Mother of Everything) by Janet Kalidjan Marawarr 
• Yawyyawk (young woman spirit) by Deborah Wurrkidj
• MANDJABU (FISHTRAP) byJanet Kalidjan Marawarr 
• MAREBU (PANDANUS MAT) byJanet Kalidjan Marawarr 
• KUNRED MANKORLOD (MANKORLOD COUNTRY) byJanet Kalidjan Marawarr 
• ROLK (MAGGOT) KUNWARDDE(ROCKS) by Janet Kalidjan Marawarr 
• NGALDJORLHBO (MOTHER OF EVERYTHING) by Janet Kalidjan Marawarr 
• KUNRONJ (FRESH WATER) by Janet Kalidjan Marawarr 
• NGALYOD (RAINBOW SERPENT) by Janet Kalidjan Marawarr 
• MANDJABU (FISH TRAP) by Raylene Bonson
• STINGRAY by Jocelyn Bangardijan Koyole
• RARRK (CROSS HATCH) by Susan Belinj Marawarr
• WAK WAK (BLACK CROW DREAMING) A Susan Belinj Marawarr
• WAK WAK (BLACK CROW DREAMING) B Susan Belinj Marawarr
• KARRBARDA (CHEEKY YAM) by Deborah Kamanj Wurrkidj
• MANBIRRBBIRR (FLOWERS OF VERTICORDIA CUNNINGHAMII) by Deborah Kamanj Wurrkidj
• KUNDALK (NATIVE GRASS)  by Deborah Kamanj Wurrkidj
• WAYUK (WATERLILY) by Deborah Kamanj Wurrkidj
• NGALDADMURRNG (SARATOGA) by Carol Kamanj Liyawanga-Campion
• MERLE MERLE (BUTTERFLY) by Carol Kamanj Liyawanga-Campion
• BOLUNG (RAINBOW SERPENT) by Jay Belinj Jurrupula-Rostron

“I’m excited to see my Lino design made into a woodblock. We are going to spend Saturday printing with Tharangini Studio. We are going to learn woodblock printing. I’ve been working Bábbarra Women’s Centre for 37 years since it started. I’ve been printing Lino on fabric.” Janet Marawarr 2023

“Tomorrow we do printing Yawkyawk (mermaid spirit) and Ngalyod (rainbow serpent). My design is together with my sister. Together, we started working at the Women’s Centre and Maningrida Arts and Culture, taught by our mother and grandmother. My sister is a sick one, and she passed on her story to me – Ngalyod (rainbow serpent). I help my sister, I help carry the knowledge for her. That’s why we both have designs being made into woodblock.” Deborah Wurrkidj 2024

BACKGROUND

Bábbarra Women’s Centre is located in the Djelk area of Arnhem Land, in a town known as Maningrida and was established in 1987. We represent over 50 women artists from 12 languages and operate under the First Nations-owned Bawinanga Homelands Aboriginal Corporation. The artists at Bábbarra Women’s Centre design screen printed and lino print textiles that illustrate the djang or rich cultural narratives, histories and powerful creation stories of West Arnhem Land. The tradition of lino printing began in the mid-1990s as a way for women to become economically empowered.

Tharangini Studio was established in 1977 in Bangalore by artist and textile enthusiast Lakshmi Srivathsa. Today, it is managed by Srivathsa’s daughter, Padmini Govind, whose global corporate career in technology and defence has led to ingenious eco-friendly printing practices within the lush tropical locale. Under Padmini’s leadership, Tharangini is the only artisan studio with a NEST Ethical Seal of Compliance (fair trade). As the last surviving heritage block print studio in Bangalore, Tharangini is home to one of the largest private archives of vintage woodblocks in India

“Karri-djarrk-durrkmirri means “We work together” in the Kuninjku language of West Arnhem Land and its more than cultural exchange with India, it is two way learning.

Tharangini’s skilled artisans worked closely with Babbarra in 2023-2025 to hand-carve some of Babbarra’s old linocut designs into woodblocks. This initiative was supported by the Centre for Australia-India Relations, Maitri Cultural Partnerships Fund 2023.

The creative relationship not only serves art but it also informs a practical and critical archival outcome for Babbarra Women’s Centre. The walls of Tharangini Studio were neatly lined with boxes of durable woodblocks and many over 200 years old and still being printed. At Bábbarra, we house cupboards and shelves of historic and vulnerable lino tiles, some 30 years old but no longer able to be printed.Tharangini Studio specialises in woodblocks carved out of teak by master artisans, creating a solid medium for textile printing. For Bábbarra Women’s Centre artists, this had the added benefit of preserving the original lino designs. Many lino sheets are crumbling and decaying, a process hastened by the kudjewk (wet season) and humid kurrung (build up).

Combining the cultural authority to share djang and print-making practices at Bábbarra Women’s Centre with the tradition of woodblock printing in India, the project exchanges many thousands of years of knowledge across the globe. The Bábbarra artists, as custodians of these designs, must receive permission from their djungkays (ritual manager through the maternal line) to share their stories.

This connection will undoubtedly sustain a lasting and significant impact on the legacy and longevity of Bábbarra Women’s Centre. The story doesn’t end here in honour of the generosity shown by Tharangini Studio, Padmini Govind will join Babbarra Women’s Centre artists in Maningrida for a workshop in June 2025.” 

Extract taken from karri-djarrk–durrkmirri catalogue essay, Jessica Stalenberg 2025

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Kalawan and Bush Flower Woodblock Sari by Bábbarra X Tharangini 2025

Woodblock print on handwoven silk, extract print with organic dyes, 100% Silk

Co-created by Bábbarra Women’s Centre, Maningrida and Tharangini Studio, India

Printed by artisans at Tharangini Studio 

Design brief by Bábbarra Women’s Centre Artists

Woodblock carving by Shri C.H. Sreeram and Shri S.K. Rajak

This fabric may feature the following woodblock designs. 

• Kunred (Country) byJanet Kalidjan Marawarr 
• Kundalk (Grasses) by Deborah Wurrkidj
• Ngaldjorlhbo (Mother of Everything) by Janet Kalidjan Marawarr 
• Yawyyawk (young woman spirit) by Deborah Wurrkidj
• MANDJABU (FISHTRAP) byJanet Kalidjan Marawarr 
• MAREBU (PANDANUS MAT) byJanet Kalidjan Marawarr 
• KUNRED MANKORLOD (MANKORLOD COUNTRY) byJanet Kalidjan Marawarr 
• ROLK (MAGGOT) KUNWARDDE(ROCKS) by Janet Kalidjan Marawarr 
• NGALDJORLHBO (MOTHER OF EVERYTHING) by Janet Kalidjan Marawarr 
• KUNRONJ (FRESH WATER) by Janet Kalidjan Marawarr 
• NGALYOD (RAINBOW SERPENT) by Janet Kalidjan Marawarr 
• MANDJABU (FISH TRAP) by Raylene Bonson
• STINGRAY by Jocelyn Bangardijan Koyole
• RARRK (CROSS HATCH) by Susan Belinj Marawarr
• WAK WAK (BLACK CROW DREAMING) A Susan Belinj Marawarr
• WAK WAK (BLACK CROW DREAMING) B Susan Belinj Marawarr
• KARRBARDA (CHEEKY YAM) by Deborah Kamanj Wurrkidj
• MANBIRRBBIRR (FLOWERS OF VERTICORDIA CUNNINGHAMII) by Deborah Kamanj Wurrkidj
• KUNDALK (NATIVE GRASS)  by Deborah Kamanj Wurrkidj
• WAYUK (WATERLILY) by Deborah Kamanj Wurrkidj
• NGALDADMURRNG (SARATOGA) by Carol Kamanj Liyawanga-Campion
• MERLE MERLE (BUTTERFLY) by Carol Kamanj Liyawanga-Campion
• BOLUNG (RAINBOW SERPENT) by Jay Belinj Jurrupula-Rostron

“I’m excited to see my Lino design made into a woodblock. We are going to spend Saturday printing with Tharangini Studio. We are going to learn woodblock printing. I’ve been working Bábbarra Women’s Centre for 37 years since it started. I’ve been printing Lino on fabric.” Janet Marawarr 2023

“Tomorrow we do printing Yawkyawk (mermaid spirit) and Ngalyod (rainbow serpent). My design is together with my sister. Together, we started working at the Women’s Centre and Maningrida Arts and Culture, taught by our mother and grandmother. My sister is a sick one, and she passed on her story to me – Ngalyod (rainbow serpent). I help my sister, I help carry the knowledge for her. That’s why we both have designs being made into woodblock.” Deborah Wurrkidj 2024

BACKGROUND

Bábbarra Women’s Centre is located in the Djelk area of Arnhem Land, in a town known as Maningrida and was established in 1987. We represent over 50 women artists from 12 languages and operate under the First Nations-owned Bawinanga Homelands Aboriginal Corporation. The artists at Bábbarra Women’s Centre design screen printed and lino print textiles that illustrate the djang or rich cultural narratives, histories and powerful creation stories of West Arnhem Land. The tradition of lino printing began in the mid-1990s as a way for women to become economically empowered.

Tharangini Studio was established in 1977 in Bangalore by artist and textile enthusiast Lakshmi Srivathsa. Today, it is managed by Srivathsa’s daughter, Padmini Govind, whose global corporate career in technology and defence has led to ingenious eco-friendly printing practices within the lush tropical locale. Under Padmini’s leadership, Tharangini is the only artisan studio with a NEST Ethical Seal of Compliance (fair trade). As the last surviving heritage block print studio in Bangalore, Tharangini is home to one of the largest private archives of vintage woodblocks in India

“Karri-djarrk-durrkmirri means “We work together” in the Kuninjku language of West Arnhem Land and its more than cultural exchange with India, it is two way learning.

Tharangini’s skilled artisans worked closely with Babbarra in 2023-2025 to hand-carve some of Babbarra’s old linocut designs into woodblocks. This initiative was supported by the Centre for Australia-India Relations, Maitri Cultural Partnerships Fund 2023.

The creative relationship not only serves art but it also informs a practical and critical archival outcome for Babbarra Women’s Centre. The walls of Tharangini Studio were neatly lined with boxes of durable woodblocks and many over 200 years old and still being printed. At Bábbarra, we house cupboards and shelves of historic and vulnerable lino tiles, some 30 years old but no longer able to be printed.Tharangini Studio specialises in woodblocks carved out of teak by master artisans, creating a solid medium for textile printing. For Bábbarra Women’s Centre artists, this had the added benefit of preserving the original lino designs. Many lino sheets are crumbling and decaying, a process hastened by the kudjewk (wet season) and humid kurrung (build up).

Combining the cultural authority to share djang and print-making practices at Bábbarra Women’s Centre with the tradition of woodblock printing in India, the project exchanges many thousands of years of knowledge across the globe. The Bábbarra artists, as custodians of these designs, must receive permission from their djungkays (ritual manager through the maternal line) to share their stories.

This connection will undoubtedly sustain a lasting and significant impact on the legacy and longevity of Bábbarra Women’s Centre. The story doesn’t end here in honour of the generosity shown by Tharangini Studio, Padmini Govind will join Babbarra Women’s Centre artists in Maningrida for a workshop in June 2025.” 

Extract taken from karri-djarrk–durrkmirri catalogue essay, Jessica Stalenberg 2025

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Namurre Boko (Two Brothers Fighting)

A two colour screen print design from 2022. Jay’s first large format design to join the Bábbarra Designs Collection.

‘This is my first one, I’m really happy, I’m proud. It’s just a songline for everybody. This story is from my great great grandfather on my fathers side. The songline was made by my second father. The mimihs tell the story. The painting took a long time, a few weeks to finish.’ Jay Jurrupula Rostron

‘Bini-murreko means two brothers – big brother and little brother.

Two brothers were really strong leaders and good hunters, sharing animals with different tribes.
With those different tribe there were jealousy going on.
Little brother went walkabout and heard the different tribe was talking about his tribe.
They said ngarribin manre djed-djedme bokko
Meaning: will make spear for them
Ngarrbin danj-bun, ngarrbinbun
Meaning: will spear them kill them
little brother turn around went back tell his brother
Namurre bokko kadi marne djed-djedme Karre wonens, kardi-djal danjbun
Meaning: they making spear for us, they gonna spear us
Couple of months they saw different tribe
They changed their attitude
They been bringing lots of animals to them and start asking for women
And that tribe realise that’s how those brothers died.
They kill them
This Why? They got jealous because two brothers was a good hunter.

This story written on the rock art and it stays forever.’

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Namurre Boko (Two Brothers Fighting)

A two colour screen print design from 2022. Jay’s first large format design to join the Bábbarra Designs Collection.

‘This is my first one, I’m really happy, I’m proud. It’s just a songline for everybody. This story is from my great great grandfather on my fathers side. The songline was made by my second father. The mimihs tell the story. The painting took a long time, a few weeks to finish.’ Jay Jurrupula Rostron

‘Bini-murreko means two brothers – big brother and little brother.

Two brothers were really strong leaders and good hunters, sharing animals with different tribes.
With those different tribe there were jealousy going on.
Little brother went walkabout and heard the different tribe was talking about his tribe.
They said ngarribin manre djed-djedme bokko
Meaning: will make spear for them
Ngarrbin danj-bun, ngarrbinbun
Meaning: will spear them kill them
little brother turn around went back tell his brother
Namurre bokko kadi marne djed-djedme Karre wonens, kardi-djal danjbun
Meaning: they making spear for us, they gonna spear us
Couple of months they saw different tribe
They changed their attitude
They been bringing lots of animals to them and start asking for women
And that tribe realise that’s how those brothers died.
They kill them
This Why? They got jealous because two brothers was a good hunter.

This story written on the rock art and it stays forever.’

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Mandjabu (fish trap) Woodblock Sari by Bábbarra X Tharangini

Woodblock print on handwoven silk, extract print with organic dyes, 100% Silk

Co-created by Bábbarra Women’s Centre, Maningrida and Tharangini Studio, India

Printed by artisans at Tharangini Studio 

Design brief by Bábbarra Women’s Centre Artists

Woodblock carving by Shri C.H. Sreeram and Shri S.K. Rajak

This fabric may feature the following woodblock designs. 

• DILLY BAGS by Nancy Gununwanga
• MANDJABU (FISH TRAP) by Raylene Bonson
• STINGRAY by Jocelyn Bangardijan Koyole
• WATERHOLE by Nancy Gununwanga

“I’m excited to see my Lino design made into a woodblock. We are going to spend Saturday printing with Tharangini Studio. We are going to learn woodblock printing. I’ve been working Bábbarra Women’s Centre for 37 years since it started. I’ve been printing Lino on fabric.” Janet Marawarr 2023

BACKGROUND

Bábbarra Women’s Centre is located in the Djelk area of Arnhem Land, in a town known as Maningrida and was established in 1987. We represent over 50 women artists from 12 languages and operate under the First Nations-owned Bawinanga Homelands Aboriginal Corporation. The artists at Bábbarra Women’s Centre design screen printed and lino print textiles that illustrate the djang or rich cultural narratives, histories and powerful creation stories of West Arnhem Land. The tradition of lino printing began in the mid-1990s as a way for women to become economically empowered.

Tharangini Studio was established in 1977 in Bangalore by artist and textile enthusiast Lakshmi Srivathsa. Today, it is managed by Srivathsa’s daughter, Padmini Govind, whose global corporate career in technology and defence has led to ingenious eco-friendly printing practices within the lush tropical locale. Under Padmini’s leadership, Tharangini is the only artisan studio with a NEST Ethical Seal of Compliance (fair trade). As the last surviving heritage block print studio in Bangalore, Tharangini is home to one of the largest private archives of vintage woodblocks in India

“Karri-djarrk-durrkmirri means “We work together” in the Kuninjku language of West Arnhem Land and it’s more than cultural exchange with India, it is two way learning.

Tharangini’s skilled artisans worked closely with Babbarra in 2023-2025 to hand-carve some of Babbarra’s old linocut designs into woodblocks. This initiative was supported by the Centre for Australia-India Relations, Maitri Cultural Partnerships Fund 2023.

The creative relationship not only serves art but it also informs a practical and critical archival outcome for Babbarra Women’s Centre. The walls of Tharangini Studio were neatly lined with boxes of durable woodblocks and many over 200 years old and still being printed. At Bábbarra, we house cupboards and shelves of historic and vulnerable lino tiles, some 30 years old but no longer able to be printed. Tharangini Studio specialises in woodblocks carved out of teak by master artisans, creating a solid medium for textile printing. For Bábbarra Women’s Centre artists, this had the added benefit of preserving the original lino designs. Many lino sheets are crumbling and decaying, a process hastened by the kudjewk (wet season) and humid kurrung (build up).

Combining the cultural authority to share djang and print-making practices at Bábbarra Women’s Centre with the tradition of woodblock printing in India, the project exchanges many thousands of years of knowledge across the globe. The Bábbarra artists, as custodians of these designs, must receive permission from their djungkays (ritual manager through the maternal line) to share their stories.

This connection will undoubtedly sustain a lasting and significant impact on the legacy and longevity of Bábbarra Women’s Centre. The story doesn’t end here in honour of the generosity shown by Tharangini Studio, Padmini Govind will join Babbarra Women’s Centre artists in Maningrida for a workshop in June 2025.” 

Extract taken from Karri-djarrk-durrkmirri catalogue essay, Jessica Stalenberg 2025