Maningrida Arts & Culture

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Ngarrbek Echidna

It is well known that Aboriginal art often depicts images of sacred totems or dreamings of Aboriginal culture. However, the world of the non-sacred also provides a rich source of subject matter for Aboriginal art. Much of the rock art of western Arnhem Land for example features secular topics such as common food animals and plants, depicted because of their economic importance but also merely because of their existence in the environment.

Eastern Kunwinjku art is well known for its relationship to rock art in the Mann River region. A number of rock art sites in this region depict images of echidnas. One local Mann River mythology tells of the rock spirits called Mimih who keep a pet echidna which can take on the form of a dog called Djamuwanki Thus the painting of animals such as this echidna (Tachyglossus aculeatus), ngarrbek in Kunwinjku language, represents the animal as a food source, a personal totem and a reference to popular mythology

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Ngarrbek Echidna

It is well known that Aboriginal art often depicts images of sacred totems or dreamings of Aboriginal culture. However, the world of the non-sacred also provides a rich source of subject matter for Aboriginal art. Much of the rock art of western Arnhem Land for example features secular topics such as common food animals and plants, depicted because of their economic importance but also merely because of their existence in the environment.

Eastern Kunwinjku art is well known for its relationship to rock art in the Mann River region. A number of rock art sites in this region depict images of echidnas. One local Mann River mythology tells of the rock spirits called Mimih who keep a pet echidna which can take on the form of a dog called Djamuwanki Thus the painting of animals such as this echidna (Tachyglossus aculeatus), ngarrbek in Kunwinjku language, represents the animal as a food source, a personal totem and a reference to popular mythology

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Yok

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Yok

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Yok

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Wak Wak

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.

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Kinga (Crocodile)

This is a painting of kinga, also known as namanjwarre, the saltwater crocodile (crocodylus porosus). These animals are totems for people of Yirridjdja moiety, one of the two patrimoieties of Arnhem Land aboriginal cultures. Crocodiles are rarely killed for food but their eggs are keenly sought after during the wet season when the females are nesting.

A major crocodile sacred site exists near the outstation of Kurrindin, in the Liverpool River district.

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Morning Star

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Coil Basket

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.

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Coil Basket

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.