This painting depicts the very important tradition where the men go out for days on an expedition looking for the magpie geese nests.
Naku (canoes) were made traditionally from the bark of a particular tree and used for hunting. In this painting, the Yolngu men hunting for gumang (magpie geese) eggs. you can see the “platforms” used to stay off the ground to keep safe from crocodiles, as will as a traditional bark hunt in the centre of the painting.
The long necked turtle is a dreaming totem for the freshwater people, the Ganalbingu, whose country includes the World Heritage listed, Arafura Wetlands in Central Arnhem Land, Northern Territory
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 Wangga (Creator Beings), long ago close to the beginning of time. These 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 creator 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. Some of their major Creative Beings include Banda (freshwater long neck turtle) and Yalman (water lilies).
The long necked turtle is a dreaming totem for the freshwater people, the Ganalbingu, whose country includes the World Heritage listed, Arafura Wetlands in Central Arnhem Land, Northern Territory
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 Wangga (Creator Beings), long ago close to the beginning of time. These 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 creator 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. Some of their major Creative Beings include Banda (freshwater long neck turtle) and Yalman (water lilies).
Traditionally, Nganiyal (conical mats) were used as an insect screen when erected, and as a sitting mat when folded. They are used in Ceremony as well as a functional item.
Nowadays, artists weave many different shapes including flat, round and oblong.
At the end of May 2024, Bula’bula artists, along with Milingimbi Arts and Culture, Maningrida Arts, and Gapuwiak Arts, were invited to attend the Langarra Bush Gallery—a three-day camp that included an exhibition, workshops, and discussions for the Weavers of Arnhem Land. Langarra is an island located a 20-minute boat ride from Elcho Island in the Arafura Sea.
The Bush Gallery provided weavers with an opportunity to create work that pushed their boundaries, encouraging them to experiment with new techniques or showcase unique skills. The goal was to foster a supportive environment where weavers could create and present work they were excited about, facilitate discussions, connections, growth, and instilling pride in their craft.
As a result of this project, our weavers produced traditional Yolngu items from hand-spun bush string, including bags, hunting and fishing items, and wearable ceremonial pieces. Additionally, they explored new approaches by creating canvas-shaped formats. This format invite viewers to examine the intricate details, colours, and craftsmanship, highlighting the inherent beauty of the gunga.
At the end of May 2024, Bula’bula artists, along with Milingimbi Arts and Culture, Maningrida Arts, and Gapuwiak Arts, were invited to attend the Langarra Bush Gallery—a three-day camp that included an exhibition, workshops, and discussions for the Weavers of Arnhem Land. Langarra is an island located a 20-minute boat ride from Elcho Island in the Arafura Sea.
The Bush Gallery provided weavers with an opportunity to create work that pushed their boundaries, encouraging them to experiment with new techniques or showcase unique skills. The goal was to foster a supportive environment where weavers could create and present work they were excited about, facilitate discussions, connections, growth, and instilling pride in their craft.
As a result of this project, our weavers produced traditional Yolngu items from hand-spun bush string, including bags, hunting and fishing items, and wearable ceremonial pieces. Additionally, they explored new approaches by creating canvas-shaped formats. This format invite viewers to examine the intricate details, colours, and craftsmanship, highlighting the inherent beauty of the gunga.
At the end of May 2024, Bula’bula artists, along with Milingimbi Arts and Culture, Maningrida Arts, and Gapuwiak Arts, were invited to attend the Langarra Bush Gallery—a three-day camp that included an exhibition, workshops, and discussions for the Weavers of Arnhem Land. Langarra is an island located a 20-minute boat ride from Elcho Island in the Arafura Sea.
The Bush Gallery provided weavers with an opportunity to create work that pushed their boundaries, encouraging them to experiment with new techniques or showcase unique skills. The goal was to foster a supportive environment where weavers could create and present work they were excited about, facilitate discussions, connections, growth, and instilling pride in their craft.
As a result of this project, our weavers produced traditional Yolngu items from hand-spun bush string, including bags, hunting and fishing items, and wearable ceremonial pieces. Additionally, they explored new approaches by creating canvas-shaped formats. This format invite viewers to examine the intricate details, colours, and craftsmanship, highlighting the inherent beauty of the gunga.
Traditionally, Nganiyal (conical mats) were used as an insect screen when erected, and as a sitting mat when folded. They are used in Ceremony as well as a functional item.
Nowadays, artists weave many different shapes including flat, round and oblong.
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).
Traditionally, Nganiyal (conical mats) were used as an insect screen when erected, and as a sitting mat when folded. They are used in Ceremony as well as a functional item.
Nowadays, artists weave many different shapes including flat, round and oblong.