Bula’bula Arts

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Woven Mat

Yolŋu weavers of Arnhem Land create utilitarian, ceremonial, and decorative pieces using naturally sourced materials. This mat is made from young Pandanus spiralis leaves, harvested with a wooden hook, stripped of prickles, and dried to create strong, resilient fibres. These fibres are then twisted, coiled, or woven using traditional techniques to produce both functional and decorative mats.

Bula’bula weavers exclusively use natural dyes, derived from locally sourced roots, leaves and grasses. These pigments are extracted and infused into pandanus fibres by boiling over an open fire, producing the rich, vibrant colours characteristic of contemporary Yolŋu weavings.

Traditionally, Nganiyal (conical mats) functioned as insect screens when erected and as seating mats when folded, playing an important role in both daily life and ceremonial practices. Today, Yolŋu artists create a variety of shapes, including flat, round, and oblong mats. These non-traditional styles and the use of bright colours became more common after Missionaries began commissioning pieces in this style.

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Woven Mat

Yolŋu weavers of Arnhem Land create utilitarian, ceremonial, and decorative pieces using naturally sourced materials. This mat is made from young Pandanus spiralis leaves, harvested with a wooden hook, stripped of prickles, and dried to create strong, resilient fibres. These fibres are then twisted, coiled, or woven using traditional techniques to produce both functional and decorative mats.

Bula’bula weavers exclusively use natural dyes, derived from locally sourced roots, leaves and grasses. These pigments are extracted and infused into pandanus fibres by boiling over an open fire, producing the rich, vibrant colours characteristic of contemporary Yolŋu weavings.

Traditionally, Nganiyal (conical mats) functioned as insect screens when erected and as seating mats when folded, playing an important role in both daily life and ceremonial practices. Today, Yolŋu artists create a variety of shapes, including flat, round, and oblong mats. These non-traditional styles and the use of bright colours became more common after Missionaries began commissioning pieces in this style.

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Nyoka (Mud crab)

Here the artist paints shellfish and mud crabs at Gariyak, the county represented in many paintings relating to the Djang’kawu Sisters’ journey. In the coastal mangroves the sisters hunted mud crabs, and baler and conch shells to eat.

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Raypiny Dhawu (Fresh Water Story)

All Aboriginal people originate from a spiritual source, fixed in a particular place in their land or the sea. These ‘spiritual reservoirs’ are often in the form of special waterholes made by Wangarr (creative spirits) that were created long ago close to the beginning of time. These creator beings moved across the countryside, shaping the land and implanting in each tract of country, the spiritual life force for the people who were to own it. These creative spirits took many forms and when they gave the land to each group, they also gave songs, dances, ceremony, the associated laws and language.

 

The creation story for Ganalbingu people took place near the middle section of the Glyde River where it becomes the Goyder River. Their land, Ngaliyindi, sits astride the Arafura Swamp in Central Arnhem Land. Many Ganalbingu artists paint totemic species significant to their clan. These can include baru (crocodile), banda (long necked turtle), buliya (catfish), yalman (waterlilies), gumang (magpie geese), dakawa (fresh water yabby), ratjuk (barramundi), warrnyu (flying fox) and more.

 

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Lungurrma (North-east Wind)

Lungurrma (North-east Wind) heralds the new season when seas are calm and new growth starts. The months for this type of wind are October to December. There are big clouds without thunder or rain. The triangular patterning represents monsoon clouds ‘standing up’ on the northern horizon. The Lunggurrma design belongs to the Yirritja moiety clans linked to this design are known as the ‘line of clouds’ clans

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Northern Marbled Velvet Gecko (Oedura marmorata)

Aboriginal art in Ramingining, Central Arnhem Land is commonly illustrated through designs and images of animals, plants, and landscape. These motifs commonly reflect the artists ancestral inheritance and their dreamings and are referred to as totems.

For this painting, the artist has painted Northern Marbled Velvet Gecko (Oedura marmorata)

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Gumang (Magpie Geese)

The Yolngu people of Arnhem Land originate from a spiritual source, fixed in a particular place in their land or the sea. These ‘Spiritual Reservoirs’ are often in the form of special waterholes made by Wangarr (Creative Beings) long ago close to the beginning of time.

The creator beings moved across the country side, shaping the land and implanting in each tract of country, the spiritual life force for the people who were to own it. These Creative Spirits took many forms. When they gave the land to each group they also gave songs, dances, ceremony, the associated laws and language. The Creation story for Ganalbingu people took place near the middle section of the Glyde River where it becomes the Goyder River. Their land, Ngaliyindi, sits astride the Arafura Swamp in Central Arnhem Land.

In this painting, the artist has depicted Gumang (magpie geese), which are sacred to the Ganalbingu people. To the east of the Arafura Swamp is a freshwater billabong which is said to have been made by the Goose Spirit and is in the shape of a goose nest. As a result, geese, their eggs and their nests are sacred.

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Bäru Dhäwu (Crocodile Story)

Bäru (the crocodile man), was from the Gumatj clan. People usually call him Gurdu Gurdu or Bäru which means crocodile. He lived his life at a place called Yirrkala. Living near him were other people, and when Bäru didn’t have enough to eat he began to kill and eat these other people. After a while others noticed that some people were missing. When Bäru went to the toilet, the people could smell this strong smell, so they knew that he ate the other people. Some men went to get help and they took message sticks to the other tribes. Some were sending smoke signals. When they came to Bäru’s camp they started to spear him in the left side of his ribs. He dropped into the fire and burnt his left hand and maybe his right hand. He then ran into the bush and yelled to his countrymen – the animals, birds and fish that live on the land and in the sea. He stopped and he named the tribes and clans and also the places until he came to a place called Gamarru/Guyurru. There he took a rest and said to himself “This is where I stop and call this place Gamarru/Guyurru”. Bäru, still in pain from the fire, then jumped into the water and turned himself into a crocodile. The fire left scars on his back. Bäru paintings belong to Gumatj and Warrawarra and also the Marpi clan. This painting is used at death ceremonies or initiations and it normally is painted on the belly, which means the person the design is painted on is part of Gurdu Gurdu (the crocodile people).

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Mindirr (Pandanus Bag)

Miṉḏirr (dilly bags) are made from gunga (Pandanus spiralis), baḻgurr (kurrajong) and natural bush dyes. The body of the miṉḏirr is made from gunga, and the handles from baḻgurr. Once the gunga fronds and baḻgurr bark have been collected, they are stripped and prepared then boiled with the dyes.

Miṉḏirr were used traditionally for every day utilitarian purposes, particularly collecting bush foods such as bäḻtji (yam). Traditionally, the baḻgurr handles were worn across the forehead while the body of the miṉḏirr sat at the back, between the shoulder blades making it easily accessible when collecting ŋatha (food).

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Mindirr (Pandanus Bag)

Miṉḏirr (dilly bags) are made from gunga (Pandanus spiralis), baḻgurr (kurrajong) and natural bush dyes. The body of the miṉḏirr is made from gunga, and the handles from baḻgurr. Once the gunga fronds and baḻgurr bark have been collected, they are stripped and prepared then boiled with the dyes.

Miṉḏirr were used traditionally for every day utilitarian purposes, particularly collecting bush foods such as bäḻtji (yam). Traditionally, the baḻgurr handles were worn across the forehead while the body of the miṉḏirr sat at the back, between the shoulder blades making it easily accessible when collecting ŋatha (food).