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, Serena has woven a stingray.
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, Serena has woven a stingray.
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, Serena has woven a stingray.
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, Serena has woven a stingray.
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.
Peter is painting a sea turtle (or Hawksbill Turtle) from his Yirritja song line. This depiction of the Guwarrtji is a small part of a great story which Peter inherited from the Liyagal-wu Mirr tribe, his mother tribe. The diamonds on the Guwarrtji’s shell connect this story to the honey story, another part of Peter’s song line. Upon Peter’s death, his spirit will return to the Guwarrtji.
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.
JB Fisher often paints subjects related to the Sugar Bag story, a story he has inherited. Sugarbags, or Gulka as it is locally known, are the native honeys found in the bush surrounding Ramingining.
In this painting, JB paints the spoons made from natural materials that people use to eat scoop up the honey and eat it.
Sugarbag story is related to the Mewal place, a significant area represented by the special shaped rock, situated in JB Fisher’s Father’s Country, just outside of Ramingining Community in north east Arnhem Land.
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.
