The women of Maningrida and surrounding homelands use a combination of locally found seeds, bone and shells to make a variety of jewellery including necklaces. earrings and bracelets. Many of the artists use complex patterns and designs to make their beautiful creations.
The women of Maningrida and surrounding homelands use a combination of locally found seeds, bone and shells to make a variety of jewellery including necklaces. earrings and bracelets. Many of the artists use complex patterns and designs to make their beautiful creations.
The women of Maningrida and surrounding homelands use a combination of locally found seeds, bone and shells to make a variety of jewellery including necklaces. earrings and bracelets. Many of the artists use complex patterns and designs to make their beautiful creations.
The women of Maningrida and surrounding homelands use a combination of locally found seeds, bone and shells to make a variety of jewellery including necklaces. earrings and bracelets. Many of the artists use complex patterns and designs to make their beautiful creations.
The women of Maningrida and surrounding homelands use a combination of locally found seeds, bone and shells to make a variety of jewellery including necklaces. earrings and bracelets. Many of the artists use complex patterns and designs to make their beautiful creations.
The women of Maningrida and surrounding homelands use a combination of locally found seeds, bone and shells to make a variety of jewellery including necklaces. earrings and bracelets. Many of the artists use complex patterns and designs to make their beautiful creations.
Kun-madj, 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.
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.
Kun-madj, 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.
Transcription of text by Jack Nawilil about two ceremonial objects— Karlanj and Ngalkodjek. Transcribed by Murray Garde and Margaret Carew 2 & 5 December 2017. Notes by Margaret Carew on 5 Dec 2017
Note: The site Jack refers to as Kœnœdjangka is in the Rembarrnga language. The ‘œ’ vowel sounds like the ‘ur’ in English ‘fur’. As this vowel does not exist in neighbouring languages, it is usually converted to an ‘i’ as Kinidjangka by Kuninjku and Burarra speakers. I have used that spelling also in the English translation but retained Kœnœdjangka in the transcription of Jack’s speech. Jack’s speech involves code switching amongst Kriol, Kune, Burarra and English.
[00:00:01] This one here, like ngaye ngakurrmeng, im my draw.
This one here [ceremonial objects], I have drawn my own personal designs on them.
[00:00:09] This one Ngalkodjek.
This one (is called) Ngalkodjek. (MG- note, that this is not the subsection term Ngalkodjok, rather the stem -kodjek is formative in the verb -kodjekmang ‘to abduct’ and may refer to a secret episode in the Nakorrkko story, the father and son cultural heroes for Bininj in western Arnhem Land).
[00:00:13] Daluk, im from Elcho im bin travellng, im from Elcho, gama ngarla, jiny-bona didjan na, and didjan du.
This represents a woman, she travelled (here) from Elcho Island, she is from Elcho, she was a woman indeed, she went/travelled, this one and this one too.
[00:00:27] Didjan najawan, didjan na.
This is another one however, this one.
[00:00:30] Shemaiah: Those two are the same story?
[00:00:33] Same story this mob but I’ll bringim next week. I’ll bring another one.
[00:00:39] This one here, an-nerranga, an-guna balaji, mun-anngiya langa djolworra kantri, im from gun-anngiya, im from like im
This one here, this is a different one and represents a food plant, what’s its name (that tucker), it is from the saltwater country, from this way, like, it’s from what’s that place
(MC comment: -anngiya is a ‘what’s its name’ word, that inflects for noun class.)
[00:01:05] In my country where that Kœnidjangka way. Didjan na.
In my country there at Kinidjangka. This one here.
[00:01:09] Yo an-guna. Yo Murray, Murray im save, marn.gi.
This one. Murray knows about this.
[00:01:19] Yo, Murray ngudda yibengkan ngayi ngarduk nani Murray. From Kœnidjangka ngamarnbom.
Murray you know this one, it’s my design Murray. I made it, the one from Kinidjangka.
[00:01:28] En nani Kœnidjangka ngamarnbom, en nani kuluban kayo kure Nakorrkko wam. Nani ngamarnbom. Ungke nane ngamarnbom that story ngarduk na. Ngakurrmeng ngaye. Ngudda yibengkan. Kanmarnebengkan Bulanj. Yoh.
This one I made it, the design from Kinidjangka, the place where flying foxes live where the Nakorrkko passed through. I made that. I’ve made that story for you, that one of mine. I have put it there. You know that. You know what I’m talking about Bulanj (to Murray Garde).
[00:01:51] Didjan, nane, dijan gama i bin travelling garra didjei, garra didjei.
This one here, she is a woman who travelled this way, coming this way (to the west from north-east Arnhem Land).
[00:02:03] Im gona garra ebrijing. From Kunidjangka i bin make it. From Kœnidjangka ngamarnbom en nani Kœnidjangka ngamarnbom. En dijan Kœnidjangka ngamarnbom. Nane now.
She has many things. I made it, the one from Kinidjangka. From Kinidjangka I made it. It is from Kinidjangka, this thing i have made. That’s it now.
[00:02:25] Ngarduk my draw nane. Like ngamarnbun, like im nomo marrek ba morning star, im different nani. ngardapa ngardapa ngarla dreaming. Mu-gurrmurra, yo a-gurrmurra a-bona. Wangarr ngarla.
This design belongs to me. Like, I made it, and it should not be confused with a morning star pole, no, it is something different. they are separate indeed, these dreamings. It (an ancestral spirit) put it there. It is my totemic emblem. It is my ancestral design of the ancestral beings, indeed.
MC note:
mu-gurrmurra
00:02:44.460 – 00:02:45.310
it put it (object belongs to mun- vegetable noun class)
00:02:44.460 – 00:02:45.310
a-gurrmurra a-bona
00:02:45.310 – 00:02:47.928
it put it (object now belongs to an- masculine noun class). a-bona here literally means ‘it (masculine) went’ but functions as an aspectual auxilliary, showing that the action is completed. Tense suffixes construe this in the past.
Shemaiah responds: yo gun-burral
00:02:49.570 – 00:02:51.155
yes that’s true
00:02:49.570 – 00:02:51.155
[00:02:53] Dijan, dijan, im from dijei na, from Elcho. mm dijan.
This one, its origins are from this way (the east), from Elcho, mm, this one.
[00:03:00] gama
a woman
[00:03:02] Shemaiah: Ngay ngay ngay
yeah yeah yeah
[00:03:05] Dijan, im daga ia la Kœnidjangka. Balajiya. But im Mardayin. Bad ai jas putumbat eniwe yuno?
This other one is an edible plant. Food. But it is a sacred thing from the Mardayin ceremony. But I have adapted it to make it a secular version.
MC note: balajiya – note emphasis -ya final syllable.
@Shemaiah: balaji murda
00:03:09.370 – 00:03:10.530
food this one
00:03:09.370 – 00:03:10.530
murda is a contracted demonstrative (from mun-narda), ‘this one in focus’ compare arda, jirda, gurda, other noun class inflected forms. These contracted demonstrative forms are a feature of modern Burarra.
00:03:09.370 – 00:03:10.530
[00:03:19] Dijan na. Dijan, dijan mun-anngeyo balaji gen
This one. This is also a food.
[00:03:27] Shemaiah: balaji?
Food?
[00:03:28] Yo im my country igen bad awirri-gapajinga ngarla. We digim and karrimang. We eatim na, dijan na.
Yes, in my country, we dig it, but has a secret element to the story. We dig it and take it out. Then we eat it, this thing.
MC note:
The transitive prefix awirri- (~abirri-) reads to me as ‘you and me plus one more’, ie inclusive unit augmented. If plural/augmented we’d expect mbi-gapajinga ie third person augmented acting on singular object, where there is noun class agreement with the object. If just ‘you and me’ is intended it would be ay-gapajinga. Quite commonly unit augmented prefixes are used in generic statements such as this, where one might expect another prefix going from the speech or discourse context.
00:03:29.960 – 00:03:31.565
[00:03:42] Like ngakurrmeng namekke Murray, Bulanj, nane Ngalkodjek wam from aa kure kamdolkkang from aam, Elcho.
So, Murray, that’s what I’ve put on it (the design). This is Ngalkodjek who travelled, setting out from Elcho Island.
[00:03:58] Ngamarnbom. Nabuyika nane, ngamarnbom manme rerri. Manme ngamarnbom, mane manme kangeydi manbingkanj.
I made it. The other one, I also made that one too. I made the plant food emblem, and the name of that plant is manbingkanj.
[00:04:16] Nane, nane ngamarnbom karlanj ngamarnbom, manme rerrih. Nane na Kœnidjangka ngamarnbom. Ngaleng nani, ngaleng Elcho kamwam daluk. Dijan na.
This thing here, I made it, this object is called karlanj and it represents a plant food. This one I have made is from Kinidjangka. She is a woman who came from Elcho Island. This one now.
[00:04:34] Im from long way dijan i bin travelling, from Elcho, (kala xxx ) like yu nomo save… yuno that, daluk, blanga im business, garra dijan i bin travelling. Yo. Dijan ia im mine dijan. Nane ngarduk rowk Bulanj, namekke draw namekke recordim ngayeman ngangeykurrmehkurrmeng nane.
She was travelling a long way, from Elcho Island (…..) like, you don’t know that story (it’s secret)… you know it related to a woman, it was her ceremonial story, and she was travelling. This thing here is my (clan) design. These are all mine Bulanj (to Garde) and what I have drawn, it’s being recorded now and I’m explaining all the names relating to it.
[00:05:03] Nane Ngalkodjek daluk, nane manme karlanj en nane mak, njamed, um. Karlanj manih manbu. Mak mane manbuyika, djal manbuyika yerri.
This woman, her name is Ngalkodjek, and this is the food, the karlanj, and this whatsit, um. Karlanj, that’s it. And there is another one but it is different again.
[00:05:24] Manbu rerri kayime wanjh mani nawu.
It is similar again, this one here.
[00:05:26] Ngamarnbom.
I made them.
[00:05:28] Ungke Murray. Kaluk yibekkan yingan kumekke mankarre yimarnbun. Yo namekke. Ma, thank you.
This (recording) is for you Murray (to transcribe for the art and cultural centre). You can listen to it and document the cultural story. That’s it. Okay, thank you.