Mats can vary greatly. Artists commonly use a mix of naturally dyed and undyed fibre to create a striking variation of coloured bands. Some artists also incorporate different types of looping to produce different patterns and textured finishes. Each type of mat, fibre bag, basket and dilly bag has its own name in the various languages spoken in the Maningrida region.
This painting depicts a sacred site at ‘Kurrurldul’, an outstation south of Maningrida.
The ‘rarrk’, or abstract crosshatching, on this work represents the design for the crow totem ancestor called ‘Djimarr’. Today this being exists in the form of a rock, which is permanently submerged at the bottom of Kurrurldul Creek. The ‘Djimarr’ rock in the stream at Kurrurldul is said to move around and call out in a soft hooting tone at night. Both the stone itself and the area around it are considered sacred.
The imagery represents the rock mentioned above at the bottom of Kurrurldul creek, which is the final transmutation of the dreaming ancestor ‘Djimarr’. Finally, the pattern used here is also the crow design used in the sacred ‘Mardayin’ ceremony, which is a large regional patri-moiety ceremony now rarely conducted in central and eastern Arnhem Land.
Kubumi is a sacred site on the Mann River. This is its story, as told by a ritual manager of the site, Lulu Laradjbi, with the authority of her husband Mick Kubarkku, a land owner of that country.
Ngalyod the Rainbow Serpent pierced the rock at a place called Bolerrhlerrh and journeyed downstream from there to Ngalmalanj. The camping place Kubumi is downstream from there but at Ngalmalanj the serpent was blocked. It pushed down into the riverbed, pushed into the earth, sinking down forever. Now it lives under the rocky riverbed. That site continues downstream. Upstream is the site Molerrhlerrh, which has a waterfall and a big waterhole. There the serpent moved inside, downstream, to the lower region.
During the dry season at Kubumi, the Mann River shrinks to a series of deep waterholes, exposing the tunnels through the rocky outcrop that interconnect the pools.
The artist has carved the ‘Gomarla’, which in the Burarra word for Egret. This bird is native to the country of Yilan, which is the coastal region North West of Maningrida Community.
The artist has carved the ‘Gomarla’, which in the Burarra word for Egret. This bird is native to the country of Yilan, which is the coastal region North West of Maningrida Community.
Coiling technique was introduced in the 1920s at Goulburn Island to the Maung people by missionaries and quickly spread to the mainland. Many artists produce coiled baskets of varied shapes, ranging from small round baskets to large oval baby baskets made from dyed pandanus. Artists combine colours and patterns to obtain intricate new graphic patterns.
Coiling technique was introduced in the 1920s at Goulburn Island to the Maung people by missionaries and quickly spread to the mainland. Many artists produce coiled baskets of varied shapes, ranging from small round baskets to large oval baby baskets made from dyed pandanus. Artists combine colours and patterns to obtain intricate new graphic patterns.
Coiling technique was introduced in the 1920s at Goulburn Island to the Maung people by missionaries and quickly spread to the mainland. Many artists produce coiled baskets of varied shapes, ranging from small round baskets to large oval baby baskets made from dyed pandanus. Artists combine colours and patterns to obtain intricate new graphic patterns.
This artwork depicts the Ngalkodjek Yawkyawk of Barrihdjowkkeng country.
“This story is very old. That old man [my father Crusoe Kuningbal] when he was alive, told that story to me, to all of us. He told us about the yawkyawk (mermaid) spirit women called Ngalkodjek who lives in the billabong on my country. He told us how they call out loudly, how they call out as they walk along.
That is what they do, calling out. They walked around eating bush foods like those little bush yams. They would pound the yams into a pulp and eat them. That is their traditional food which they eat.
When they walk down from the bush, they follow a set path that belongs to them and they walk along calling out. That is their path which they take. It is an old traditional route.
They placed a woman’s breast into the country. That rock was not there originally, but it was a woman’s breast. It is the breast of those women.
They put that djang [sacred place] there, and then at the time when non-Aboriginal people arrived in the region, then the breast turned to stone. Now it has turned solid into rock.”
– Owen Yalandja
Burlupurr, or dilly bag, is a large woven collecting basket. These large bags are often made from the vine ‘Malasia scandens’, a strong pliable plant which grows along the floor and into the canopy of monsoon vine thickets. The bags are used to collect any kind of large numbers of heavy foods such as fish caught in conical fish traps or large collections of yams.
They can also be made from Pandanus spiralis, a plant which grows in many areas of Arnhem Land. These dilly bags are a tightly woven collecting basket, very finely made. These dilly bags are often used to collect sugarbag, the native honey
As well as being of practical use, dilly bags are also of religious significance to Arnhem Land people. Dilly bags are said to be totemic objects and associated with particular sites in the landscape.