{"title":"Buku | Ŋanapurruŋgu Walumalaynha our seasons, Our Time","description":null,"products":[{"product_id":"ḏirrpu-marawili-bolpu-2482-23","title":"Muluymuluy Wirrpanda | Bol'pu 2482-23","description":"\u003cdiv class=\"page\" title=\"Page 1\"\u003e\n\u003cdiv class=\"layoutArea\"\u003e\n\u003cdiv class=\"column\"\u003e\n\u003cdiv class=\"page\" title=\"Page 3\"\u003e\n\u003cdiv class=\"layoutArea\"\u003e\n\u003cdiv class=\"column\"\u003e\n\u003cp\u003e\u003cspan\u003eThis bol’pu is symbolic of the two ancestral women known as the Djuram. They hung their dilly bags on the Banyan tree. This bag is a symbol of our womanhood. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThose two ladies (Djuram) named Ganapa and Banyili. They were walking across the plain called Garaŋardi or Bukulili. As they were walking, their Bol’pu (dilly bags) were carried on their backs with a string across their forehead. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThey were getting Guya (fish) at Milŋurr (waterhole). There’s a few Milŋurr at this place. The Guya (fish) are called Birrkuku (black and white striped butterfish), and Guyula or Narrunpuma (catfish) . This is sacred country for my Dhudi-Djapu clan. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAfter Djet (osprey) flew off, the two women walked across this country to Dhuruputjpi homeland. The Wayin (bird), Daŋgultji (brolga), flew above while the women fished. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThey left their two digging sticks beside the Ḏawu (banyan tree). They hung their dilly bags on this tree. This bag is a symbol of our womanhood. \u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Buku-Larrŋgay Mulka Centre","offers":[{"title":"Default Title","offer_id":51165056106794,"sku":null,"price":2500.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0678\/0374\/2506\/files\/Muluymuluybolpu.jpg?v=1792564088"},{"product_id":"ms-d-yunupingu-marwat-5701-24","title":"Ms. D Yunupiŋu | Marwat 5701-24","description":"\u003cp class=\"p1\"\u003eThis work refers to a new motif that Dhopiya initiated in early 2024. It references the threads of the material known as galiku, djårritjarri or manydjarrka. This is the cloth which the Makassans would bring and share with Yolŋu as a part of the broader family in return for their labour and access to trepang. As per the songs and often practiced dances relating to this material a part of the story is the fraying under impact fro the winds. This then reveals the nature of the material to be similar to that of Yolŋu cosmology made up of many threads like the family connections that embody gurruṯu. The lines are made with the fine lines of the marwat or line brush made from a few strands of straight hair usually from a young girl. This is a distinctive Yolŋu painting apparatus and style which is manifest here in its most reductive form.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eGaliku is also a material used for dancing. Yirritja people, men, women, children, wear it during Garma and other times for funerals, or the kids dancing at school. It's special. We Gumatj identify ourselves with yellow fabric. Inside the Galiku is cotton and if you tear it off you see the threads. Galiku is the material that makes the flags and the sails of the praus. Our dance and song celebrates the North wind which brings those boats carrying our family back to us. It sings the wind which snatches at the flags makes them climb and fly and then frays them and finally whips them away as it becomes the cyclone.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe material relates to the seafaring Makassan family members whose centuries old visits and settlements defined the economy and society of Yolŋu. A translation of Dr. G. Yunupiŋu’s song Galiku based on the Gumatj manikay (sacred song) is as follows:\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cstrong\u003eFlags\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cem\u003eDance, dance, dance, dance, dance hits!, snatch it!\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cem\u003eFrom this northerly wind, snatch it!\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cem\u003eOn the mass the flags are playing, snatch it!\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cem\u003eThe flags torn by the wind, snatch it!\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e \u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cem\u003eClimbing. climbing, climbing. climbing. climbing. climbing. climbing. climbing, fraying to pieces, snatch it!\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e \u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cem\u003eTorn flags. mast arms\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cem\u003egiḻaŋ. giḻaŋ, giḻaŋ. on the masts. shredded flags\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cem\u003eshredded by the power of wuḏuminy. gaŋgayparra winds\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e \u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cem\u003eYou (flags) asked to fly dancing. from the northern wind\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cem\u003eFlags dancing there at Mindharrŋura. Wilirrŋura. Muthamul\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cem\u003eyou grandmother-flag mob, you Mandjikay families. m.m. m.m\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e \u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cem\u003eSoft sands of Mawuyul. at the place Yanhdhaḻa\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cem\u003eFor who? For Bāpadjambaŋ. at the place Djulkayalŋgi\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e \u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cem\u003eAlso playing there for the Birrinydji. Djindjiray Baḻawuku\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cem\u003eMāwuḻmirri. Gandjamarr Birrapirra nation\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cem\u003eyou first, clash the knives\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cem\u003eat the place, Seki Gurrumuru, m.m, m.m\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e \u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cem\u003eHere is the trepang oven, at the Gāḏinŋura Djaltjunbi (Bawaka)\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cem\u003ethis Dhuwa country. Girriwaḻa Ṉämbatjŋu (Yāŋunbi)\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cem\u003eDjarpanbulu. Raŋimula Gaṉdjitji (Barrkira)\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cem\u003ethe mast flags flew, for Gätjiŋ. m.m. m.m\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e \u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cem\u003eWhere have the masts come from to be with Ḻuku-ḏumdhuna (ancestor)\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cem\u003eFrom Melwula Barrthanaga, to Dholtji Manuna\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cem\u003eOh my grandmother families. Ḏilingarra Yawunbaŋu\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cem\u003eBungurrukurru, Walaywalayuna m.m, m.m (Warramiri nation)\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e \u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cem\u003eRaising a new folded flag, take it\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cem\u003e'giḻaŋ' as it is raised up the mast. take it\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cem\u003eSinging the country Djanŋala. Gapala, Barrumbarru, take it\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cem\u003eBecause this is marked for Gätjiŋba, take it\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cem\u003egiḻaŋ. giḻaŋ, giḻaŋ, giḻaŋ. giḻaŋ, giḻaŋ, giḻaŋ. disappears from sight\u003c\/em\u003e\u003c\/p\u003e","brand":"Buku-Larrŋgay Mulka Centre","offers":[{"title":"Default Title","offer_id":52835565961514,"sku":null,"price":750.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0678\/0374\/2506\/files\/DhopiyaYunupingu_dec_-Marwat5701-24CROP.jpg?v=1791942237"},{"product_id":"bulthirrirri-wunungmurra-gurrumuru-gangan-5803-25","title":"Bulthirrirri Wunuŋmurra | Mokuy 5803-25","description":"\u003cp class=\"p1\"\u003eThis work references the mokuy (spirits) who gather for the renewal ceremony called Yukuwa. Bulthirrirri says; \u003cem\u003e\"This story is about mokuy. This is what we call the spirit men who are dancing here. The spirit is passing through going to the clouds where we see the dying sun lightning up the sunset. But we know that the Sun and the spirit will be reborn.\"\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe artist's father Nawurapu Wunuŋmurra (dec) said about this ceremony; “The mokuy or nanuk (spirits) come in together, Dhuwa and Yirritja (both moieties) to the sacred ground called Balambala, past Gäṉgaṉ, the other side for all the mokuy to get together. The spirits go there and that’s where they make the yiḏaki sound. It’s like showing Yukuwa (sacred yam emblem) and Baṉumbirr\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e(Morning Star) feathers – they are different. Like same goes with yiḏaki, different sounds for Yirritja and Dhuwa. The Yirritja and Dhuwa play yiḏaki to call in the mokuy to the same ground Balambala. The Yirritja mokuy come in on the birds, djilawurr (scub fowl) and bugutj-bugutj (banded fruit dove). The Dhuwa mokuy, they come in from raŋi side (saltwater).”\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThere are ‘renewal’ ceremonies in Yolŋu law irregularly when the time is right that are independent of the funeral, circumcision and age grading ceremonies that occur all the time. For Yirritja they are announced by the delivery of a carved wooden yam with feathered vines by way of invitation.\u003c\/p\u003e","brand":"Buku-Larrŋgay Mulka Centre","offers":[{"title":"Default Title","offer_id":52835567436074,"sku":null,"price":350.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0678\/0374\/2506\/files\/BulthirrirriWunungmurra-Mokuy5803-25CROP.jpg?v=1791942192"},{"product_id":"gutingarra-yunupingu-gunda-dhukururru-7645-25","title":"Gutiŋarra Yunupiŋu | Gunda Dhukururru 7645-25","description":"\u003cp class=\"p1\"\u003eFrom the artist:\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\"The rock named Dhukururru belongs to Wangurri Djerrkura clan which is my grandmother's clan.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe rocks shown in the print were first small and near Buymarr Beach. Then they moved to the ocean. Now it stands bigger, stronger and surrounded by the saltwater called Murrurinydji, which is also the saltwater for the Wangurri Djerrkura clan.\"\u003c\/p\u003e","brand":"Buku-Larrŋgay Mulka Centre","offers":[{"title":"Default Title","offer_id":52835574219050,"sku":null,"price":350.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0678\/0374\/2506\/files\/GutingarraYunupingu-GundaDhukururru7645-25CROP.jpg?v=1791941984"},{"product_id":"yalmakany-marawili-nindaṉ-7883-25","title":"Yalmakany Marawili | Nindaṉ 7883-25","description":"\u003cp class=\"p1\"\u003eNear my homeland at Bäniyala there are two billabongs. The miyalk (women) here are collecting ṉiṉḏaṉ (water lilie nuts) from the one called Ganyupi, up near the end of the estuary. The other one is called Waŋurru. When the homeland was being established we would always go here to get gapu and ŋatha (food and water). The plant growing at the edges is ḏarraŋgi, it grows near creeks and billabongs. There is also räkay (water weed root) and wakwak (water lilies). Ṉiṉḏaṉ are like nuts, but are the young roots of these lilies, yellow-coloured and buried inside the mud. They are sometimes called ḏirrpu. We dig them up and cook them inside the ashes. The women have watjumuŋu, special paperbark baskets for collecting and carrying the ŋatha.\u003c\/p\u003e","brand":"Buku-Larrŋgay Mulka Centre","offers":[{"title":"Default Title","offer_id":52835579756842,"sku":null,"price":250.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0678\/0374\/2506\/files\/YalmakanyMarawili-Ninda_7883-25CROP.jpg?v=1791941951"},{"product_id":"gutingarra-yunupingu-bonba-8101-25","title":"Gutiŋarra Yunupiŋu | Bonba 8101-25","description":"\u003cp class=\"p1\"\u003eThis print shows the Yolŋu sign language for bonba (butterfly). Bonba is a Dhuwa totemic being sung by the Dhudi-Djapu at Yalata.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThis is the second print created by Gutiŋarra featuring a word in Yolŋu sign language. To create this etching, Guti first sketched his hands from a photograph of him making the sign for bonba, then worked the plate with his fingertips to make impressions using his fingerprints.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eBorn without hearing, Yolŋu sign language is Guti's primary form of communication. Through his work as a digital producer at the Mulka Project over the last ten years, and as an established artist in his own right, Guti shares his knowledge and keeps this ancient language alive.\u003c\/p\u003e","brand":"Buku-Larrŋgay Mulka Centre","offers":[{"title":"Default Title","offer_id":52835588866346,"sku":null,"price":450.0,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0678\/0374\/2506\/files\/GutingarraYunupingu-Bonba8101-25CROP.jpg?v=1791941911"},{"product_id":"gutingarra-yunupingu-buymarr-2244-26","title":"Gutiŋarra Yunupiŋu | Buymarr 2244-26","description":"\u003cp class=\"p1\"\u003eFrom the artist:\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cem\u003e\"I am a Gumatj man. When I was a little boy I lived with my family in Buymarr, which is a beautiful peaceful homeland on the beach approximately 100kms from Yirrkala. It was here that my family taught me about the land and the sea and how to hunt, gather and prepare food. In those early years my mother, aunties and grandmother also taught me Yolŋu sign language. I moved to Yirrkala when I was 7 years old to start school, but I return to Buymarr often. I love it there. These pictures give you a glimpse of my relaxed homeland and also of some other places I visited \u003cmeta charset=\"utf-8\"\u003eoften as a child to hunt, gather and play with friends and family. This is my homeland, Buymarr. My home by the sea and the rock mountain named Ŋalandarra, where the flag flew. Ŋuykal (kingfish) swim in the saltwater here, so we stand up on the rock mountain Ŋalandarra to see where they are schooling, then we know where to go spear fishing. The long beach stretches up to the sacred river called Gutatjpirrarr of the Yirritja moiety and when we look out over the saltwater we can see the sacred white rock called Dhukururru. My märi (mother's, mother) is of the Yirritja moiety, the Wangurri clan, and is the landowner of Buymarr. Our family are the caretakers. Waŋa marrkap'mirri - my beloved homeland.\"\u003c\/em\u003e\u003c\/p\u003e","brand":"Buku-Larrŋgay Mulka Centre","offers":[{"title":"Default Title","offer_id":52835591127338,"sku":null,"price":550.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0678\/0374\/2506\/files\/GutingarraYunupingu-Buymarr2244-26CROP.jpg?v=1791941884"},{"product_id":"lirrtjila-2-mununggurr-gathul-8108-25","title":"Lirrtjila 2 Munuŋgurr | Gathul 8108-25","description":"\u003cp class=\"p1\"\u003eWhen the tide is going down it is the best time for hunting in the mangroves. Our old people taught us that. When my family goes hunting, we always wait for the tide to go out. The mangroves have been there for a very, very long time, and there is so much ŋatha (food) living amongst them. We collect mud-mussels, mangrove oysters and mangrove worms. The mangroves have lots of mud crabs living underneath the roots too, hiding. Mud crabs live in holes in the mud, inside the mangrove forest. When you know what to look for, mud crabs are easy to find. When we see a mud crab hiding in the mangroves, we sneak up on it quietly, and spear it through the shell. Later after hunting, when we all come together, we make a fire and cook the crabs until they’re orange, then they’re ready to eat. For this print, I carved two different lino tiles and printed them on top of each other. This is my second ever print at Yirrkala Print Space. When I carved this design, I was thinking back to the mangroves, and where I like going go to get \u003cem\u003eŋatha\u003c\/em\u003e with my family.\u003c\/p\u003e","brand":"Buku-Larrŋgay Mulka Centre","offers":[{"title":"Default Title","offer_id":52835598467370,"sku":null,"price":250.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0678\/0374\/2506\/files\/Lirrtjila2Mununggurr-Gathul8108-25CROP.jpg?v=1791941844"},{"product_id":"muluymuluy-wirrpanda-rinytjangu-1019-25","title":"Muluymuluy Wirrpanda | Riny'tjaŋu 1019-26","description":"\u003cp class=\"p1\"\u003eFor a long time all the old people go out to collect riny'tjaŋu (yam) to eat. They cook them by burning the fire down to coals and cover them in hot sand, to test if they are ready the poke them with a small stick. Once cooked the riny'tjaŋu are peeled and crushed with a rock.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eRiny'tjaŋu are found for harvesting all year round and taste like cassava.\u003c\/p\u003e","brand":"Buku-Larrŋgay Mulka Centre","offers":[{"title":"Default Title","offer_id":52835603153194,"sku":null,"price":350.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0678\/0374\/2506\/files\/MuluymuluyWirrpanda-Riny_tjangu1019-26CROP.jpg?v=1791941769"},{"product_id":"muluymuluy-wirrpanda-gunga-899-26","title":"Muluymuluy Wirrpanda | Gunga 899-26","description":"\u003cp class=\"p1\"\u003eThis is the gunga ḏhäwu (pandanus story). When the djamarrkuḻi (children) have tooth pain and the tooth comes out it is placed in the gunga roots so they will grow again. Also when a yothu (baby) is born the nut of the gunga tree is smoked over the baby for their health and for them to grow stronger\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"Buku-Larrŋgay Mulka Centre","offers":[{"title":"Default Title","offer_id":52839982956842,"sku":null,"price":250.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0678\/0374\/2506\/files\/MuluymuluyWirrpanda-Gunga899-26CROP.jpg?v=1791941742"},{"product_id":"muluymuluy-wirrpanda-bolpu-2221-26","title":"Muluymuluy Wirrpanda | Bol'pu 2221-26","description":"\u003cp class=\"p1\"\u003eBol'pu were used by our ancestors a long time ago, and are still used to this day. They are woven with gunga (pandanus) and dyed with natural colours from roots and leaves.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eWe use bol'pu for hunting and harvesting things like djinydjalma (crabs), guya (fish), ganguri' (yams) and guku (honey) and lots of other bush ŋatha (food).\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eWhile mostly used by miyalk (women) for gathering natha, the ḏirramu (men) use bol'pu for boys ceremony and mens business. Men will ask the women to weave the baskets for these ceremonies. These baskets are often decorated with feathers and paint.\u003c\/p\u003e","brand":"Buku-Larrŋgay Mulka Centre","offers":[{"title":"Default Title","offer_id":52839995244842,"sku":null,"price":350.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0678\/0374\/2506\/files\/MuluymuluyWirrpanda-Bol_pu2221-26CROP.jpg?v=1791941693"},{"product_id":"garawan-waṉambi-marrangu-1348-26","title":"Garawan Waṉambi | Marraŋu 1348-26","description":"\u003cp class=\"p1\"\u003e\u003cem\u003e\"A little ḻarrakitj (hollow log) is put into the sand at low tide at a place near Raymaŋgirr to a source of spring water, we use the spring water to wash away the worries from our mind.\"\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThis painted surface depicts country close to Raymangirr, on the coast of Arnhem Bay. It is a sacred and restricted area where freshwater is known to spring to the surface of the beach at the low tide region. Sacred ceremonies of this area are said to see a ḻarrakitj placed over the mouth of this spring at low tide, where the water from this sacred font bubbles up over the top.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe miny'tji (sacred design) in this print represents this place and the different character of the waters moving from anger and turbulence to the calm of resolution, bathed in the warmth of the suns rays. Manifest and central to the design is the fallen trunk, the sacred ḻarrakitj.\u003c\/p\u003e","brand":"Buku-Larrŋgay Mulka Centre","offers":[{"title":"Default Title","offer_id":52840008024362,"sku":null,"price":350.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0678\/0374\/2506\/files\/GarawanWa_ambi-Marrangu1348-26CROP.jpg?v=1791941668"},{"product_id":"wanapati-yunupingu-gawangalkmi-2870-26","title":"Wanapati Yunupiŋu | Gawaŋalkmi 2870-26","description":"\u003cp class=\"p1\"\u003eThese are gawaŋalkmi, the mangrove whipray - a dangerous and aggressive stingray. It is dark grey like mangrove mud with little white flecks like the bits of broken shell that decorate the muddy seafloor there. We hunt it to eat its raw liver like a seafood pate when it is ripe. \u003c\/p\u003e\n\u003cp class=\"p1\"\u003eWe dance it to show the power of the Gumatj. The liver represents the children of our sisters who follow their fathers into the opposite moiety but always remain a part of us, their mother clan.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe yothu (babies) of gawaŋalkmi are born live and are already dangerous at birth.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe stingrays sense the water beneath the sand and nuzzle into the soft mud. The sediment the gawaŋalkmi stir up when digging their holes floats in the water and become the clouds in the sky.\u003c\/p\u003e","brand":"Buku-Larrŋgay Mulka Centre","offers":[{"title":"Default Title","offer_id":52840015593770,"sku":null,"price":550.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0678\/0374\/2506\/files\/WanapatiYunupingu-Gawangalkmi2870-26CROP.jpg?v=1791941647"},{"product_id":"munhala-dhamarrandji-gomu-3259-26","title":"Munhala Dhamarrandji | Gomu' 3259-26","description":"\u003cp class=\"p1\"\u003eFrom the artist:\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\"This is my first time making a lino print. I have been enjoying it in my heart. These shells are from my wäŋa (homeland) Yilpara.\"\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eGomu' are a form of hermit crab who are sung by the Djambarrpuyŋu. The edible species are known as ŋukaliya (hermit crab, Clibanarius taeniatus). But the dictionary Maypal, Mayili ga Wäŋa - Shellfish, meaning and place suggests that gomu' are inedible and that they prefer the shell shapes known as ḻaḻaywarra and barawatharr. A shell which is more heavily built than ŋukaliya, and which are round rather than pointed.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe Djambarrpuyŋu songs of turtle hunters tell that as turtle is butchered (in accordance to strict protocols relating to cuts and priority division) the gomu' rise to the top of the sand attracted by the smell.\u003c\/p\u003e","brand":"Buku-Larrŋgay Mulka Centre","offers":[{"title":"Default Title","offer_id":52840106393898,"sku":null,"price":350.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0678\/0374\/2506\/files\/MunhalaDhamarrandji-Gomu_3259-26CROP.jpg?v=1791941593"},{"product_id":"marrnyula-mununggurr-rinytjangu-3327-26","title":"Marrnyula Munuŋgurr | Riny'tjaŋu 3327-26","description":"\u003cp class=\"p1\"\u003eThe Gälpu clan dance and sing this manikay (song). The story is of miyalk (women) walking in the bush looking for ŋatha (food). They are looking for riny'tjaŋu (yams). We carry wapitja (digging stick) and look for a special leaf that tells us where they are buried. The name of the song, dance and the yam is the same: riny'tjaŋu.\u003c\/p\u003e","brand":"Buku-Larrŋgay Mulka Centre","offers":[{"title":"Default Title","offer_id":52840166785322,"sku":null,"price":350.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0678\/0374\/2506\/files\/MarrnyulaMununggurr-Riny_tjangu3327-26CROP.jpg?v=1791941567"},{"product_id":"munhala-dhamarrandji-batjimurrungu-3508-26","title":"Munhala Dhamarrandji | Batjimurruŋu 3508-26","description":"\u003cp class=\"p1\"\u003eAs told by the artist; The maypal (shellfish) stays on the gathul (mangrove) roots and sometimes in the mud under the roots. Two old ladies went out to collect this maypal for ŋatha (food). It makes them stronger.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThis painting carries the miny’tji of Batjimurruŋu a shellfish of the mangroves area which climbs the aerial roots of the mangroves as the tide comes in. It is sung by the Djambarrpuyngu clan with the Guyula \/ Dhamarrandji surnames and relates to the Buckingham Bay area of Gurula Dhulmuwandany. It is a design learnt by the artist via her mother’s first husband and is her classificatory sister clan.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThis place and design, songs and the shellfish itself are related to the songlines of the Djaŋ'kawu sisters of the Dhuwa moiety.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eBatjimurruŋu is Cassidula angulifera or the Angular Ear Shell. The synonyms are miniminipi and mitjalaŋaniŋ.\u003c\/p\u003e","brand":"Buku-Larrŋgay Mulka Centre","offers":[{"title":"Default Title","offer_id":52840261058858,"sku":null,"price":350.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0678\/0374\/2506\/files\/MunhalaDhamarrandji-Batjimurrungu3508-26CROP.jpg?v=1791941524"},{"product_id":"dhambit-mununggurr-blue-fire-4021-26","title":"Dhambit Munuŋgurr | Blue Fire 4021-26","description":"\u003cp class=\"p1\"\u003eAs told by the artist:\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\"This is about my Mother's clan. These are her bones inside, skin outside. They live at Birany Birany. This is her homeland, were she rests. She is Gumatj.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eDhambit is the daughter of two winners of the First Prize in the National Aboriginal and Torres strait Islander Art Award, Mutitjpuy Mununggurr and Gulumbu Yunupingu. Her grandfathers are Woŋgu and Munggurrawuy who themselves are legendary leaders and artists. She was hit by a car in 2007 and suffered serious head injuries which were life threatening. Through her husband’s and (now deceased) mother’s persistence and her own courage she has used art to overcome the deficits caused by the accident. She also practised as an arisst prior to the accident. Her art is powerful and spontaneous and founded in her deep knowledge of Yolŋu Law.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eHer art is not ‘disabled’ art and finds acceptance within the community and the market as an innovative vision based on real understanding of the spiritual forces of her Yolŋu country and worldview. Her esoteric knowledge of Yolŋu sacred Law is intact and she is one of the most learned of elders.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eShe is currently in a wheelchair with restrictions on movement and speech stemming from those head injuries. She paints with her non-preferred left hand. She used art to rehabilitate herself. Painting constantly and selling or giving away art to anyone who showed an interest. She painted and sold her work from home as an independent artist for many years. She used acrylics in ochre colours to overcome the difficulty of grinding the ochres by hand which was beyond her capacity. She often painted on boards to avoid the obstacle of cutting bark. She was supported in all of this by her French partner Tony Gintz who would also cut bark for her but not enough to keep up with her prolific constant creation. As time progressed Dhambit began to include non-earth colours in her work\u003c\/p\u003e\n\u003cp class=\"p1\"\u003esuch as green to depict trees. In 2018 she accepted an invitation from her art centre to produce a large bark for inclusion in the Aboriginal Art Award. This autobiographical piece was produced in daily sessions in the courtyard of Buku-Larrŋgay and set the pattern for the next phase of her career. The regard and attention that this piece garnered encouraged further production of large pieces and brought her to the \u003cmeta charset=\"utf-8\"\u003eattention of Tony Elwood of the NGV who met her in the courtyard on a visit to Yirrkala. By this stage she had settled on blue as the dominant colour for these large pieces. Elwood invited her to be a major artist in the 2020 NGV International Biennale on the spot.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eIn ancestral times, the leaders of Yirritja moiety clans used fire for the first time during a ceremony at Ŋalarrwuy in Gumatj country.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThis came about as fire brought to the Maḏarrpa clan country by Bäru the ancestral crocodile, spread North and swept through the ceremonial ground. From this ceremonial ground the fire spread further to other sites. Various ancestral animals were affected and reacted in different ways. These animals became sacred totems of the Gumatj people and the areas associated with these events became important sites.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe fire spread inland from the ceremonial ground and burnt the nest of Waṉkurra (Bandicoot) forcing him to hide in a hollow log ḻarrakitj to save himself. Waṉkurra is thus danced and sung at mortuary ceremony as he is associated with the burial log used to contain the bones of the deceased.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eDjirikitj, the quail (sometimes called the’ fire making bird’), picked up a burning twig from this fire and flew away with it, dropping it at Maṯamaṯa. There is a large paperbark swamp at Maṯamaṯa, where native honey bees live. Fire from the burning twig dropped by Djirikitj took hold of the tall grass in the swamp area and the naitve bees fled to Djiliwirri in Gupapuyŋu clan country. Thus Gupapuyŋu honey and Gumatj fire are linked through these ancestral events and also refer to a relationship between these two clans which is played out in ceremony.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe Pee-Wee Biḻkpiḻk or Ḏelili built its nest high up in the trees safe from the fire- its song was to be heard after the morning of the fire. The indestructible spider Garr came out after the fire had passed and spun its web between the trees which is said to catch the souls of the Yirritja dead. Garrtjambal the kangaroo was as frightened as Waṉkurra and ran away from the fire burning his feet in the hot ash as he did so. Waṉkurra traveled through the hollow log with its tail on fire transferring the Gumatj identity to new places.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe harbinger of death is Ŋerrk, sulphur crested white cockatoo who is intimately associated with this place, these people and this ceremony. Another powerful Gumatj bird is Djilawurr whose sites are often associated with freshwater rainforest adjacent to the harbours of Macassans.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThese creatures are all associated with named sites which were burnt as the ancestral fire spread across the land. Where the sites described occur outside Gumatj clan country, the path of the fire represents important relationships held between these clans.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe Gumatj clan design associated with these events, a diamond design, represents fire; the red flames, the white smoke and ash, the black charcoal and the yellow dust. Also the black skin, yellow fat, white bone and red blood of Gumatj people. Clans owning connected parts of this sequence of ancestral events share variations of this diamond design.\u003c\/p\u003e","brand":"Buku-Larrŋgay Mulka Centre","offers":[{"title":"Default Title","offer_id":52840444363050,"sku":null,"price":750.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0678\/0374\/2506\/files\/DhambitRuypuMununggurr-BlueFire4021-26CROP.jpg?v=1791941496"},{"product_id":"naminapu-maymuru-white-guwak-men-3848-26","title":"Naminapu Maymuru-White | Guwak Men 3848-26","description":"\u003cp class=\"p1\"\u003eAs told by the artist:\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cem\u003e\"This is the part of a big story. Munuminya and Yikawaŋa went hunting for turtle. As they were paddling out to the open sea, they saw a big wave. The first man said \"let's go back\", the second one said \"it is too late, the wave is about to hit us.\" The canoe got tossed by the wave and the men were in the sea. The sea animals and sacred objects, including sea monsters came and offered to help but the men said \"no\" because they knew that their spirit was going to the Milŋiyawuy (Milky Way) to join their ancestors.\"\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eAnother version of the same story is recorded thus;\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eIt was in the Waŋarr (ancestral times) when the Guwak men, Munuminya and Yikawanga, sitting under the shade of the sacred Marawili tree, instructed the ancestral koel cuckoo Guwak to lead the Maŋgalili people to this new place they had established for them at Djarrakpi.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eHaving seen the people settled in their new homeland they announced to the Maŋgalili their farewell, that they, the Guwak men, were to travel out to sea, to a place in the sky and that they would become stars which would shine out of the night sky.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eSo a canoe and paddles were made and their journey began by paddling down the Milŋiya River which flows into the Blue Mud Bay near Djarrakpi. In the bay, at a place of significance, strong winds developed and capsized the canoe. The men drowned.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eAt this place is the site of Yiŋalpiya, the freshwater crocodile’s nesting place. This same place is the spirit source for Maŋgalili people.\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe Guwak Men, it was said, had attempts made on them to be rescued.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eA special log Milkamirri or Bandumul, containing mangrove worms offered itself as assistance. Ŋoykal the ancestral king fish is also manifest in this form. Even the rock cod they had caught for their journey offered assistance, as did Dhäla the sea creature.It was to no avail however as the men had destined themselves as offerings to the night sky where they and subsequent Maŋgalili souls are seen today in the Milky Way. These Maŋgalili souls attain their celestial position by means of possum fur string Burrkun that connects Djarrakpi at the site of the Marawili tree to night sky. Miliyawuy or Milŋiya as the Milky Way is also looked upon as the nesting place for the ancestral crocodile Yiŋalpiya. The river was sung into the sky by these Maŋgalili heroes - the Milky Way.\u003c\/p\u003e","brand":"Buku-Larrŋgay Mulka Centre","offers":[{"title":"Default Title","offer_id":52840592736554,"sku":null,"price":550.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0678\/0374\/2506\/files\/NaminapuMaymuru-White-GuwakMen3848-26CROP.jpg?v=1791941441"},{"product_id":"dhambit-mununggurr-guḏurrku-3961-26","title":"Dhambit Munuŋgurr | Guḏurrku 3961-26","description":"\u003cp class=\"p1\"\u003eDhambit is the daughter of two famous artists, and winners of the First Prize in the National Aboriginal and Torres strait Islander Art Award, Mutitjpuy Mununggurr and Gulumbu Yunupingu. She was hit by a car in 2007 and suffered serious head injuries which were life threatening, and as a result she uses a wheelchair and has altered movement and speech. Through her husband’s support and her own courage she has used art to overcome the effects of the accident.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eHer art is powerful and spontaneous and founded in her deep knowledge of Yolŋu Law. Though contemporary in look, her works speak of her deep understanding of the spiritual forces of her Yolŋu country and worldview and reference her moiety and clan's songlines.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eIn this case she says that this print is a depiction of a Guḏurrku (brolga) in the flood plains at Dhuruputjpi known as Garaŋarri. As is often the case when discussing such things with her she revealed an even deeper name of this place which is used rarely - Gawulawala.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eHer authority to paint this area stems from the relationship her father has with his mother's mother's Dhudi Djapu clan who are the owners of this area. It is a coastal fringe area, this Dhudi Djapu homeland, that has territory leading up a river through plains country behind an area of coast on Blue Mud Bay.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eFresh water springs dot this sun baked plain forming small oases of vegetation and as Rarrandada (the hot time) builds the thirsty birds come to these sacred springs in their thousands. The noise of the guḏurrku or dhaŋgultji (brolgas) is deafening, the mud scored with their tracks and the sky dark with the flocks of wheeling birds.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe Djaŋ’kawu - the Dhuwa moiety creation sisters, manifest as Brolgas, in naming this country for the Dhudi Djapu, created these sacred fresh water springfed waterholes by plunging their sacred digging sticks in the ground. Freshwater sprung from these wells as did a sacred goanna, a manifestation in some circles of the Djaŋ’kawu themselves. The reference to this area is further emphasised by the vegetation which is Ḏarraŋgi - Hanguana malayana- the icon of the billabong area of Dhuruputjpi.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003esuch as green to depict trees. In 2018 she accepted an invitation from her art centre to produce a large bark for inclusion in the Aboriginal Art Award. This autobiographical piece was produced in daily sessions in the courtyard of Buku-Larrŋgay and set the pattern for the next phase of her career. The regard and attention that this piece garnered encouraged further production of large pieces and brought her to the \u003cmeta charset=\"utf-8\"\u003eattention of Tony Elwood of the NGV who met her in the courtyard on a visit to Yirrkala. By this stage she had settled on blue as the dominant colour for these large pieces. Elwood invited her to be a major artist in the 2020 NGV International Biennale on the spot.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eIn ancestral times, the leaders of Yirritja moiety clans used fire for the first time during a ceremony at Ŋalarrwuy in Gumatj country.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThis came about as fire brought to the Maḏarrpa clan country by Bäru the ancestral crocodile, spread North and swept through the ceremonial ground. From this ceremonial ground the fire spread further to other sites. Various ancestral animals were affected and reacted in different ways. These animals became sacred totems of the Gumatj people and the areas associated with these events became important sites.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe fire spread inland from the ceremonial ground and burnt the nest of Waṉkurra (Bandicoot) forcing him to hide in a hollow log ḻarrakitj to save himself. Waṉkurra is thus danced and sung at mortuary ceremony as he is associated with the burial log used to contain the bones of the deceased.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eDjirikitj, the quail (sometimes called the’ fire making bird’), picked up a burning twig from this fire and flew away with it, dropping it at Maṯamaṯa. There is a large paperbark swamp at Maṯamaṯa, where native honey bees live. Fire from the burning twig dropped by Djirikitj took hold of the tall grass in the swamp area and the naitve bees fled to Djiliwirri in Gupapuyŋu clan country. Thus Gupapuyŋu honey and Gumatj fire are linked through these ancestral events and also refer to a relationship between these two clans which is played out in ceremony.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe Pee-Wee Biḻkpiḻk or Ḏelili built its nest high up in the trees safe from the fire- its song was to be heard after the morning of the fire. The indestructible spider Garr came out after the fire had passed and spun its web between the trees which is said to catch the souls of the Yirritja dead. Garrtjambal the kangaroo was as frightened as Waṉkurra and ran away from the fire burning his feet in the hot ash as he did so. Waṉkurra traveled through the hollow log with its tail on fire transferring the Gumatj identity to new places.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe harbinger of death is Ŋerrk, sulphur crested white cockatoo who is intimately associated with this place, these people and this ceremony. Another powerful Gumatj bird is Djilawurr whose sites are often associated with freshwater rainforest adjacent to the harbours of Macassans.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThese creatures are all associated with named sites which were burnt as the ancestral fire spread across the land. Where the sites described occur outside Gumatj clan country, the path of the fire represents important relationships held between these clans.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe Gumatj clan design associated with these events, a diamond design, represents fire; the red flames, the white smoke and ash, the black charcoal and the yellow dust. Also the black skin, yellow fat, white bone and red blood of Gumatj people. Clans owning connected parts of this sequence of ancestral events share variations of this diamond design.\u003c\/p\u003e","brand":"Buku-Larrŋgay Mulka Centre","offers":[{"title":"Default Title","offer_id":52840731279658,"sku":null,"price":1250.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0678\/0374\/2506\/files\/DhambitRuypuMununggurr-Gu_urrku3961-26CROP_15514871-47d6-470b-8c1b-8d745fd2bdc9.jpg?v=1791944115"},{"product_id":"datjuluma-guyula-manggalili-story-3970-26","title":"Datjuluma Guyula | Maŋgalili story 3970-26","description":"\u003cp class=\"p1\"\u003eAs told by the artist:\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cem\u003e\"The background is the milŋiyawuy (milkyway) and the ground is where we do the waŋupini buŋgul. Djarrakpi is where we sit in the shade of the garrkarryun waŋupini maraluma (growing moving clouds) and eat the yambirrku (these fish). We went hunting for garriwa (turtle) but only found yambirrku. We start the fire and cook the fish, and when we are finished the bones are thrown to the yiŋapuŋapu (sand sculpture) and the gunyan (crabs) clean the bones. After that we dance mudhi muthi daltjiyun buŋgul the bones have been cleaned by the gunyan.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cem\u003eThis print depicts elements of the Maŋgalili clan story relating to the sacred ceremonial\/burial grounds called the Yiŋapuŋapu at their homeland Djarrakpi. These are the waŋupiŋi (cumulonimbus thunderhead) yambirrku (parrot fish), gunyan (ghost crab) and garriwa (turtle).\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cem\u003eThe Yiŋapuŋapu is a low relief sand sculpture designed to keep any contamination of death at bay as traditionally the body of the deceased was placed within it for initial mortuary rites, to cleanse the bones of dangerous spirits held within the body tissue. A metaphor for this action of cleansing is utilised by the Maŋgalili in their sacred paintings by way of depicting Mirriya or Gunyan the sand or ghost crab picking the bones of a fish carcass on the beach. This print shows the totemic Mirriya which feeds on the Ancestral remains of the parrot fish Yambirrku.\"\u003c\/em\u003e\u003c\/p\u003e","brand":"Buku-Larrŋgay Mulka Centre","offers":[{"title":"Default Title","offer_id":52841037693226,"sku":null,"price":550.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0678\/0374\/2506\/files\/DatjulumaGuyula-Manggalilistory3970-26.jpg?v=1791941320"},{"product_id":"djirrirra-wunungmurra-yukuwa-4046-26","title":"Djirrirra Wunuŋmurra | Yukuwa 4046-26","description":"\u003cp class=\"p1\"\u003eAs told by the artist:\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cem\u003e\"Yukuwa is the yam, and these are the leaves. This miny'tji (sacred design) will be put on the coffin for a Yolŋu who passed away. To say good-bye. Marwat (hair) is used to paint on the coffin. This is what will be for my children, Lawawa and Makamunu. And for me.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cem\u003eWe are Dhalwaŋu women from Gängan, same as this miny'tji. I paint this design because my other name is Yukuwa.\"\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eFurther to this;\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eYukuwa is one of the personal names of the artist and Yukuwa is the topic of this work. Almost a self-portrait this motif first arose when she had been challenged about her right to paint Buyku the fishtrap imagery of her own clan and homeland by a family member. Rather than argue she retorted by painting imagery which in one sense is her own personal identity. The complaints in relation to Buyku evaporated but Djirrirra persists with the Yukuwa imagery with the encouragement of her art centre.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThis piece is a reference to Yirritja renewal ceremony which is by definition a shared communion of Yirritja moiety clans which does not relate to circumcision or mortuary rites. Spirits of deceased people are on a cyclical journey from their point of death to the reservoir of souls particular to their clan identity. But at these irregular ceremonies they all congregate for one last dance together before heading their separate ways. There are relationships between Yirritja moiety clans that are renewed through Yukuwa ceremony at particular sites which relate to the ritual exchange of sacred objects, song and dance.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eYukuwa is a yam whose annual reappearance is a metaphor for the increase and renewal of the people and their land. Traditionally the invitation to such a ceremony is presented as an object in the form of a yam with strings emanating from it with feathered flowers at the end. This is a suggestion of the kinship lines which tie groups together. The site referred to in this piece is in the area between Gäṉgaṉ and the sea known as Balambala described as the next river from Gäṉgaṉ. This is a cleared area which is an ancient ceremonial site at which special men’s ceremony involving both ḻarrakitj (or Dhan’parr- bark coffin) and special yiḏaki occurred. An ancient hero known as Burruluburrulu danced here.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eIt is described as a meeting place for Dhalwaŋu, top Maḏarrpa (Dholpuyŋu) and Munyuku. These ‘renewal’ ceremonies in Yolŋu law occur irregularly when the time is right. They are independent of the funeral, circumcision and age grading ceremonies that occur all the time. They are held at specific natural clearings within the general Stringybark forest that covers most of Arnhem land.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe documentation of a different work detailing the Garma site at Gulkula (which is another of these sites) says as follows:\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cem\u003e\"Some of the dancers at 2003 Garma (who used a whistle in their ritual call and response) were Dhalwaŋu singing this site. An ancient hero known as Burruluburrulu danced here. There is another naturally cleared site at Rurraŋala which is an analogous ‘ceremony ground of the gods’. Gulkula is another time honoured meeting place for such ceremonies. The stories of such sites also involve Waṯu (dogs), Garrtjambal (red kangaroos) and (Ŋerrk) cockatoos. Ŋerrk are the Yirritja moiety harbingers of death and therefore related to the mortuary aspect of the ḻarrakitj ceremony. The Gumatj ancestral hero\/giant Ganbulabula called and presided over such a ceremony in ancestral time at Gulkula. During the ceremony a member of Dhamala (sea eagle) clan was misbehaving with various giggly young women of Matter (flying fox). This distracted people from their sacred observance and caused disharmony amongst the camp.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cem\u003eTo express his displeasure and end the behaviour Ganbulabula threw the finely worked memorial pole he had been painting from the edge of the escarpment to the ocean below where it still exists imbuing these waters with special properties. And thus when the stringybark blossom attracting flying fox to the escarpment White breasted Sea Eagles still cruise the edge picking off less careful bats. The Gumatj leaders hold ceremony aimed at unifying people and paint and display ḻarrakitj. The multidimensionality of sacred time means that the songs of this place relate to the past the present and the future simultaneously.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cem\u003eIn any event the conception is that when these ceremonies are held by mortals during the day the spirits conduct their own rituals at night. Indeed their nocturnal activities are often audible in the main camp during such ceremonies. It seems as if it is a necessary part of their farewell to this dimension to have this last ceremony.\"\u003c\/em\u003e\u003c\/p\u003e","brand":"Buku-Larrŋgay Mulka Centre","offers":[{"title":"Default Title","offer_id":52841105293610,"sku":null,"price":550.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0678\/0374\/2506\/files\/DjirrirraWunungmurra-Yukuwa4046-26.jpg?v=1791941265"},{"product_id":"wayilkpa-maymuru-wangupini-4060-26","title":"Wayilkpa Maymuru | Waŋupini 4060-26","description":"\u003cp class=\"p1\"\u003eAs told by the artist;\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cem\u003e\"The shape is waŋupini (cloud). This design is a reflection of the water of the Milŋiyawuy river, also Djarrakpi, my homeland. This the dhäwu (story) of the dharpa Marawili waluŋguy (the sacred tree) that the birds fly to. Guwak, the night birds. In the tree is also the rupu (possums) and garanyirrnyirr (cicada), they make loud buzzing sounds.\"\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe story is also told as follows;\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThis work is referencing Maŋgalili country at Djarrakpi which is at the base of Cape Shield, the northern perimeter of Blue Mud Bay.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThis Maŋgalili country is also site of one of the Ancestral ceremonial\/burial grounds called the Yiŋapuŋapu.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe Yiŋapuŋapu is a low relief sand sculpture designed to keep any contaminaiton of death at bay as traditionally the body of the deceased was placed within it for initial mortuary rites, to cleanse the bones of dangerous spirits held within the body tissue. A metaphor for this action of cleansing is utilised by the Maŋgalili in their sacred paintings by way of depicting Mirriya or Gunyan the Ghost or Sand Crabs picking the bones of a fish carcass on the beach. Contemporary Maŋgalili on the beaches of Djarrakpi put their food scraps in one place when at camp - the secular Yiŋupuŋapu.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe totemic Mirriya (Ghost Crab) feeds on the Ancestral remains of the parrot fish Yambirrku. The miny’tji or sacred clan design for the sandscapes of Djarrakpi both adorn and surround the crabs. In traditional mortuary ceremony for this clan the last act is to catch and eat Yambirrku and dispose of the bones in the ceremonial sand sculpture for the crabs to pick clean overnight.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eAn understanding of this work relies upon a basic outline of the Maŋgalili clan’s ‘outside story’ as follows.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eIt was in the wangarr, ancestral times, when the Guwak (Koel Cuckoo) men, Munuminya and Yikawaŋa, sitting under the shade of the sacred Marawili (a Ganyawu or bush cashew) tree, instructed the ancestral koel cuckoo Guwak to lead the Maŋgalili people to this new place they had established for them at Djarrakpi. Having seen the people settled in their new homeland they announced to the Maŋgalili their farewell, that they, the Guwak men were to travel out to sea, to a place in the sky and that they would become stars which would shine out of the night sky.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eSo a canoe and paddles were made and their journey began by paddling down the Milŋiyawuy River which flows into the Blue Mud Bay near Djarrakpi. In the bay, at a place of significance, strong winds developed and a wake from the ancestral turtle capsized the canoe - the men drowned. At this place is the site of Yiŋalpiya, the freshwater crocodile’s nesting place. This same place is the spirit source for Maŋgalili people. The Guwak Men, it was said, had attempts made on them to be rescued. A special log Milkamirri or Bandumul, containing mangrove worms offered itself as assistance. Ŋuykal the ancestral king fish is also manifest in this form. Even the rock cod they had caught for their journey offered assistance, as did Dhäla the sea creature. It was to no avail however as the men had destined themselves as offerings, to the night sky where they and subsequent Maŋgalili souls are seen today in the Milky Way. These Maŋgalili souls attain their celestial position by means of possum fur string Burrkun that connects Djarrakpi at the site of the Marawili tree to night sky. Miliyawuy or Milŋiya as the Milky Way is also looked upon as the nesting place for the ancestral crocodiles Yiŋalpiya. The night bird Guwak became lonely so he set out to find his friend Marrŋu, the possum, to talk to. During the day he found him in several places but Marrŋu would not talk to him because it was daylight. Ever since the Guwak only calls at night as he knows that this is the only time that Marrŋu will answer him. During his travels that day, as he flew along the coast, he saw the king fish Ŋuykal and feeling hungry called out “Ŋuykal if you will jump out of the water onto the sand I will give you some land.” Ŋuykal did so and was gobbled up by the Guwak. At long last he came to Djarrakpi and in the moonlight he saw the sacred tree on the cliff. As he was very tired it was with great relief that he landed in the top of the tree and noticed the Gunyaṉ (Sand Crabs) playing in the sand at the foot of the cliff, running from their holes through the parallel lines of foam left by the ebbing tide\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eAs he sat looking about, he heard a noise and realised Marrŋu was inside the hollow tree. He then sent Garanyirrnyirr, the cicada, down the tree with a message to Marrŋu who came up the tree to the Guwak and they spent the night talking about the sacred places of the Maŋgalili. The designs underneath the figurative imagery all relate to Djarrakpi. In the top half the tracks of the possum and the crabs is visible in that design.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThey then sent Garanyirrnyirr with a message to Nyapiliŋu and asked her to come with them into the Maŋgalili country. The possum travelled ahead and left a path for them to follow. Before the Guwak and Nyapiliŋu came together at Djarrakpi, when they met at the sacred possum tree Guwak had already travelled extensively with Garanyirryirr his messenger, and named sacred places for the Maŋgalili. Nyapiliŋu is a somewhat mystical being hovering in the background of the mythology; information about her is very sparingly given and only after many years of contact. She taught the Yolŋu women many things; how to look for wild bulb ‘yoku’ and prepare it for eating, how the make bark string and weave pandanus palm baskets. She came to the mainland from Groote Eylandt, travelling in a giant sized bark water container with a band of specially trained spirit women known as Wurrathilaku, who eventually split up to become the different language and clan groups of the Yirritja moiety, including the Maŋgalili. A more important part of Nyapiliŋu's work was naming flora and fauna and making them Yirritja totems, naming sacred places and making maḏayin. The digging stick (wapitja) which she made for stripping bark, is a very important symbol on the bark paintings as with this she made all the Yirritja waterholes. The death of the two Ancestral Hunters, the founders of Djarrakpi for the Maŋgalili clan of Yolŋu, initiated the first rites of mortuary for these people. The body of the deceased is ceremonially placed at the central station of the sand sculpture - Yiŋapuŋapu. This work has reference to this ceremony, the Guwak Ancestors and the role played by the utilisation of the Yiŋapuŋapu at Djarrakpi. Placing the body within the confines of the sand sculpture keeps the contamination of death at bay.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eFurthering this concept has a notion of cleansing whereas over time with the agents of nature the soft tissues of the body returns to the mother (earth), the bones are laid bare and clean for the final rites of passage back to the Maŋgalili reservoir of souls. The Gunyan play a role in this stage. Djarrakpi is located at the end of a remote cape on the western side of the Gulf of Carpentaria. Here there are several extremely significant landmarks for the Maŋgalili. On top of a sandy rise, above the sandunes is said to be the ‘dangerous’ site of the Guwak’s Yiŋapuŋapu at Djarrakpi.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe maternal Thunderhead cloud is Waŋupini. This is shown in its feminine shape as the anvil shaped Wet Season cumulonimbus.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThere is a metaphor for the soul’s journey from life to death to rest to rebirth. The saltwater flows to the horizon where it is taken up as water vapour by the feminine thunderhead cloud which carries it as the pregnant maternal shape to the escarpment where it gives birth through rain.\u003c\/p\u003e","brand":"Buku-Larrŋgay Mulka Centre","offers":[{"title":"Default Title","offer_id":52841370779946,"sku":null,"price":750.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0678\/0374\/2506\/files\/WayilkpaMaymuru-Wangupini4060-26.jpg?v=1791941136"},{"product_id":"warrathiri-ganambarr-marrma-guḏurrku-4201-26","title":"Warrathiri Ganambarr | Märrma' Guḏurrku' 4201-26","description":"\u003cp class=\"p1\"\u003eAs told by the artist;\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cem\u003e\"The guḏurrku' (brolga) are found near Dhuruputjpi, my homeland from my Father's side. I imagined two brolga dancing when I made this print. They were dancing in the morning when the sun is on their face.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cem\u003eI see this happen lots of times, this also happens near Bäniyala in a place called Garaŋarri.\"\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eDhangultji or Guḏurrku (Brolga) inhabit floodplains in huge numbers during the late Dry. They drink from subterranean springs which emerge in the vast flat plains. A safe place to rest, mate and nest. In their avian form they are a manifestation of the Djaŋ’kawu Sisters’ party which travel throughout the Eastern top end, shape shifting and giving birth to the various clans of the Dhuwa moiety.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eIn this artist's case the Ŋaymil.\u003c\/p\u003e","brand":"Buku-Larrŋgay Mulka Centre","offers":[{"title":"Default Title","offer_id":52841499099434,"sku":null,"price":350.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0678\/0374\/2506\/files\/WarrathiriGanambarr-Marrma_Gu_urrku_4201-26CROP.jpg?v=1791941114"},{"product_id":"dhambit-mununggurr-an-old-one-4215-26","title":"Dhambit Munuŋgurr | An Old One 4215-26","description":"\u003cp class=\"p1\"\u003eAs told by the artist:\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cem\u003e\"This is about my mother's clan, Gumatj. The story of the bäru (crocodile). At the top is a hole for the bäru to go in, it is his wäŋa (home). On the side is my Mother's clan design.\"\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe lino block from which this print was made was unearthed in the artists storage shed during a visit from the Australian Centre for Contemporary Art, where it had lain for more than 10 years according to Dhambit.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eDhambit was hit by a car in 2007 and suffered serious head injuries, and as a result uses a wheelchair and has altered movement and speech. Through her husband’s support and her own courage she has used art to overcome the effects of the accident. Her powerful and spontaneous paintings have made her a world renowned artist.\u003c\/p\u003e","brand":"Buku-Larrŋgay Mulka Centre","offers":[{"title":"Default Title","offer_id":52841508995370,"sku":null,"price":350.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0678\/0374\/2506\/files\/DhambitRuypuMununggurr-AnOld4215-26CROP.jpg?v=1791940998"},{"product_id":"wulu-marawili-garrangali-3870-26","title":"Wulu Marawili | Garraŋali 3870-26","description":"\u003cp class=\"p1\"\u003eAs told by the artist:\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cem\u003e\"The fire comes from these leaves - gamaṯa. The bäru (crocodile) makes his garraŋali (nest) in the leaves. The bäru, like my name, Wulu, comes from the fire in Bäniyala.\"\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe story also goes;\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThis is a Maḏarrpa clan depiction of the sacred area referred to as Garraŋali where the sacred Bäru (crocodile) nest.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe Maḏarrpa people were led by Wakuthi (born c1921) who remained a powerful and influential man although almost blind and known as “Banbay” - 'blind one' until his death in 2005. In the setting of this coastal outstation, the elements of this painting incorporate themes of fire and water and describe the ancestral events in which Bäru, the crocodile, plays a central role.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eBäru was camped at a fire when his wife Dhamiliŋu, went hunting for Mänyduŋ (snails). Bäru was sleeping and his wife was eating the snails, throwing the empty shells on his head. Bäru became wild and threw his wife into the gurtha (fire).\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eIt was by being burned by the fire following this argument, that Bäru is said to have been scarred badly resulting in the characteristic skin of the crocodile. It also accounts for his wallowing in water to soothe his burns and his continuing fear of fire. Bäru, as an important ancestor of the Yirritja moiety, played a role in naming areas of land belonging to various Yirritja clans.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eBäru said, “My tribe will be ....”, and proceeded to give names to all the places and people. He also went to Maningrida - they have a story for him there but they have different language and different miny’tji (designs). They call themselves Maḏarrpa people. At Roper there are also people who call themselves Maḏarrpa.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eCrocodiles never eat food fresh. They take it to a special place called Ŋulwurr or Garraŋali, and let it rot before eating it there later on. This painting is of that site which doubles as nest.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eSo Garraŋali is the Maḏarrpa clans crocodile nest. The Maḏarrpa call themselves of Bäru. Bäru leaves the beaches of Yathikpa to go up stream to the inland site of Garraŋali. Freshwater wells rise from the black soil plains that sustain an oasis like jungle. King tides will reach this far creating a sacred fertile and brackish mix. This is where Bäru makes its nest. It is these waters at Garraŋali that contain the Maḏarrpa soul.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThis powerful and dangerous place is affected by springs of freshwater and tidal surge from the northern coast of Blue Mud Bay - a place where the two waters mix to become a fertile one. Ancestral Fires came through this area imbued with the powers of Bäru the Ancestral Crocodile - power totem for the Maḏarrpa clan. The waters are sacred because as the Maḏarrpa will tell you - they are from this water and upon death and through appropriate ritual they will return to this font of Maḏarrpa ancestral souls.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eGarraŋali is protected as a special place of significance for the Maḏarrpa by the intense heat of the lingering Ancestral Fire and the real presence of Bäru protecting its nests.\u003c\/p\u003e","brand":"Buku-Larrŋgay Mulka Centre","offers":[{"title":"Default Title","offer_id":52841546055978,"sku":null,"price":550.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0678\/0374\/2506\/files\/WuluMarawili-Garrangali3870-26CROP.jpg?v=1791940683"},{"product_id":"muluymuluy-wirrpanda-buḻwutja-2387-26","title":"Muluymuluy Wirrpanda | Buḻwutja 2387-26","description":"\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003eBuḻwutja (Dhuwa, Cycnogeton dubium) is a water yam and described in the artist's words the following:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003e\u003ci\u003e'This story is from a long time ago. People travelled around from place to place to hunt for ŋatha (food).\u003c\/i\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003e\u003ci\u003eFirst we dig in the water for Buḻwutja. Then we make a fire. When the fire burns down we take the coals to one side and put sand on top of them. Then the hot sand cooks the Buḻwutja.\u003c\/i\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003e\u003ci\u003eWhen you pick the Buḻwutja it is white from the water. It tastes sweet.\u003c\/i\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003e\u003ci\u003eWe have eaten this ŋatha for a long\u003cspan class=\"Apple-converted-space\"\u003e  \u003c\/span\u003etime. New generation always goes to the shop to get shop food.”\u003c\/i\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003eBuḻwutja described in the words of Mulkuṉ Wirrpanda in the book Miḏawarr | Harvest that was published by her and John Wolseley in 2017:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003e\u003ci\u003e'This is one of the plants which belong to the Dhuḏi-Djapu as well as the Djapu. It is a plant which is sung by my own clan. It grows in and around the billabongs and swampy areas. The plants grow in clumps aŌer the rains, and you pull them out in clumps. You cook it underground or on coals and then mash it into a blackish grey paste that is tasty and nutritious. This paste can also be baked into a bread.”\u003c\/i\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003eBuḻwutja grows on the Garaŋarri floodplain, south of Dhuruputjpi, and also at Lumatjpi, near Yilpara where the songs tell of the spirit woman Marrnyili. Men sing the songs of this food entangled with the identity of this place. They sing the journey of this woman through the landscape:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003e\u003ci\u003e“Mokuywa Ngatha Marrnyiliwa\u003c\/i\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003e\u003ci\u003eBuway buway buway\u003c\/i\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003e\u003ci\u003eMarrtji ṉämbarra ŋupan ḻarrumany.\u003c\/i\u003e\u003c\/span\u003e\u003cspan class=\"s1\"\u003e\u003ci\u003e\u003c\/i\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003e\u003ci\u003eThere they go, the spirit women Marrnyili\u003c\/i\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003e\u003ci\u003ewalking walking walking\u003c\/i\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003e\u003ci\u003ewith their knees and their elbows lifting high in the air\u003c\/i\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003e\u003ci\u003ethis way and that threading through the paperbark saplings\u003c\/i\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003e\u003ci\u003esearching for their food.”\u003c\/i\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003eMW\u003c\/span\u003e\u003c\/p\u003e","brand":"Brunswick Street Gallery","offers":[{"title":"Default Title","offer_id":52842373447978,"sku":null,"price":5000.0,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0678\/0374\/2506\/files\/Muluymuluy_2387-26.jpg?v=1791347702"},{"product_id":"muluymuluy-wirrpanda-buḻwutja-1853-26","title":"Muluymuluy Wirrpanda | Buḻwutja 1853-26","description":"\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003eBuḻwutja (Dhuwa, Cycnogeton dubium) is a water yam and described in the artist's words the following:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003e\u003ci\u003e'This story is from a long time ago. People travelled around from place to place to hunt for ŋatha (food).\u003c\/i\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003e\u003ci\u003eFirst we dig in the water for Buḻwutja. Then we make a fire. When the fire burns down we take the coals to one side and put sand on top of them. Then the hot sand cooks the Buḻwutja.\u003c\/i\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003e\u003ci\u003eWhen you pick the Buḻwutja it is white from the water. It tastes sweet.\u003c\/i\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003e\u003ci\u003eWe have eaten this ŋatha for a long\u003cspan class=\"Apple-converted-space\"\u003e  \u003c\/span\u003etime. New generation always goes to the shop to get shop food.”\u003c\/i\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003eBuḻwutja described in the words of Mulkuṉ Wirrpanda in the book Miḏawarr | Harvest that was published by her and John Wolseley in 2017:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003e\u003ci\u003e'This is one of the plants which belong to the Dhuḏi-Djapu as well as the Djapu. It is a plant which is sung by my own clan. It grows in and around the billabongs and swampy areas. The plants grow in clumps aŌer the rains, and you pull them out in clumps. You cook it underground or on coals and then mash it into a blackish grey paste that is tasty and nutritious. This paste can also be baked into a bread.”\u003c\/i\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003eBuḻwutja grows on the Garaŋarri floodplain, south of Dhuruputjpi, and also at Lumatjpi, near Yilpara where the songs tell of the spirit woman Marrnyili. Men sing the songs of this food entangled with the identity of this place. They sing the journey of this woman through the landscape:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003e\u003ci\u003e“Mokuywa Ngatha Marrnyiliwa\u003c\/i\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003e\u003ci\u003eBuway buway buway\u003c\/i\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003e\u003ci\u003eMarrtji ṉämbarra ŋupan ḻarrumany.\u003c\/i\u003e\u003c\/span\u003e\u003cspan class=\"s1\"\u003e\u003ci\u003e\u003c\/i\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003e\u003ci\u003eThere they go, the spirit women Marrnyili\u003c\/i\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003e\u003ci\u003ewalking walking walking\u003c\/i\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003e\u003ci\u003ewith their knees and their elbows lifting high in the air\u003c\/i\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003e\u003ci\u003ethis way and that threading through the paperbark saplings\u003c\/i\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003e\u003ci\u003esearching for their food.”\u003c\/i\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003eMW\u003c\/span\u003e\u003c\/p\u003e","brand":"Brunswick Street Gallery","offers":[{"title":"Default Title","offer_id":52842381967658,"sku":null,"price":2500.0,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0678\/0374\/2506\/files\/Muluymuluy_1853-26.jpg?v=1791347701"},{"product_id":"muluymuluy-wirrpanda-buḻwutja-546-26","title":"Muluymuluy Wirrpanda | Buḻwutja 546-26","description":"\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003eBuḻwutja (Dhuwa, Cycnogeton dubium) is a water yam and described in the artist's words the following:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003e\u003ci\u003e'This story is from a long time ago. People travelled around from place to place to hunt for ŋatha (food).\u003c\/i\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003e\u003ci\u003eFirst we dig in the water for Buḻwutja. Then we make a fire. When the fire burns down we take the coals to one side and put sand on top of them. Then the hot sand cooks the Buḻwutja.\u003c\/i\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003e\u003ci\u003eWhen you pick the Buḻwutja it is white from the water. It tastes sweet.\u003c\/i\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003e\u003ci\u003eWe have eaten this ŋatha for a long\u003cspan class=\"Apple-converted-space\"\u003e  \u003c\/span\u003etime. New generation always goes to the shop to get shop food.”\u003c\/i\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003eBuḻwutja described in the words of Mulkuṉ Wirrpanda in the book Miḏawarr | Harvest that was published by her and John Wolseley in 2017:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003e\u003ci\u003e'This is one of the plants which belong to the Dhuḏi-Djapu as well as the Djapu. It is a plant which is sung by my own clan. It grows in and around the billabongs and swampy areas. The plants grow in clumps aŌer the rains, and you pull them out in clumps. You cook it underground or on coals and then mash it into a blackish grey paste that is tasty and nutritious. This paste can also be baked into a bread.”\u003c\/i\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003eBuḻwutja grows on the Garaŋarri floodplain, south of Dhuruputjpi, and also at Lumatjpi, near Yilpara where the songs tell of the spirit woman Marrnyili. Men sing the songs of this food entangled with the identity of this place. They sing the journey of this woman through the landscape:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003e\u003ci\u003e“Mokuywa Ngatha Marrnyiliwa\u003c\/i\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003e\u003ci\u003eBuway buway buway\u003c\/i\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003e\u003ci\u003eMarrtji ṉämbarra ŋupan ḻarrumany.\u003c\/i\u003e\u003c\/span\u003e\u003cspan class=\"s1\"\u003e\u003ci\u003e\u003c\/i\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003e\u003ci\u003eThere they go, the spirit women Marrnyili\u003c\/i\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003e\u003ci\u003ewalking walking walking\u003c\/i\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003e\u003ci\u003ewith their knees and their elbows lifting high in the air\u003c\/i\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003e\u003ci\u003ethis way and that threading through the paperbark saplings\u003c\/i\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003e\u003ci\u003esearching for their food.”\u003c\/i\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003eMW\u003c\/span\u003e\u003c\/p\u003e","brand":"Brunswick Street Gallery","offers":[{"title":"Default Title","offer_id":52842384195882,"sku":null,"price":3600.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0678\/0374\/2506\/files\/Muluymuluy_546-26.jpg?v=1791347702"},{"product_id":"muluymuluy-wirrpanda-buḻwutja-1851-26","title":"Muluymuluy Wirrpanda | Buḻwutja 1851-26","description":"\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003eBuḻwutja (Dhuwa, Cycnogeton dubium) is a water yam and described in the artist's words the following:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003e\u003ci\u003e'This story is from a long time ago. People travelled around from place to place to hunt for ŋatha (food).\u003c\/i\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003e\u003ci\u003eFirst we dig in the water for Buḻwutja. Then we make a fire. When the fire burns down we take the coals to one side and put sand on top of them. Then the hot sand cooks the Buḻwutja.\u003c\/i\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003e\u003ci\u003eWhen you pick the Buḻwutja it is white from the water. It tastes sweet.\u003c\/i\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003e\u003ci\u003eWe have eaten this ŋatha for a long\u003cspan class=\"Apple-converted-space\"\u003e  \u003c\/span\u003etime. New generation always goes to the shop to get shop food.”\u003c\/i\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003eBuḻwutja described in the words of Mulkuṉ Wirrpanda in the book Miḏawarr | Harvest that was published by her and John Wolseley in 2017:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003e\u003ci\u003e'This is one of the plants which belong to the Dhuḏi-Djapu as well as the Djapu. It is a plant which is sung by my own clan. It grows in and around the billabongs and swampy areas. The plants grow in clumps aŌer the rains, and you pull them out in clumps. You cook it underground or on coals and then mash it into a blackish grey paste that is tasty and nutritious. This paste can also be baked into a bread.”\u003c\/i\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003eBuḻwutja grows on the Garaŋarri floodplain, south of Dhuruputjpi, and also at Lumatjpi, near Yilpara where the songs tell of the spirit woman Marrnyili. Men sing the songs of this food entangled with the identity of this place. They sing the journey of this woman through the landscape:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003e\u003ci\u003e“Mokuywa Ngatha Marrnyiliwa\u003c\/i\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003e\u003ci\u003eBuway buway buway\u003c\/i\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003e\u003ci\u003eMarrtji ṉämbarra ŋupan ḻarrumany.\u003c\/i\u003e\u003c\/span\u003e\u003cspan class=\"s1\"\u003e\u003ci\u003e\u003c\/i\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003e\u003ci\u003eThere they go, the spirit women Marrnyili\u003c\/i\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003e\u003ci\u003ewalking walking walking\u003c\/i\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003e\u003ci\u003ewith their knees and their elbows lifting high in the air\u003c\/i\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003e\u003ci\u003ethis way and that threading through the paperbark saplings\u003c\/i\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003e\u003ci\u003esearching for their food.”\u003c\/i\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003eMW\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e \u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003e\u003cmeta charset=\"utf-8\"\u003eḺarrakitj\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003eThis took place once it was determined that the essential eternal spirit of the deceased had completed its cyclical journey to the spring from which it had originated and would in time return again. This might be several years. Whilst the body was ‘lying in state’ others got wind of the death, perhaps by subliminal message and made preparations to journey to the site of mortuary. Usually enough time had elapsed for the bones of the deceased to be naturally cleansed on the platform. The essence of the soul within the bone was made ready for final rites when other outside participants necessary for its safe journey arrived. Ritual saw the bones of the deceased placed within the termite hollowed memorial pole for final resting. Mortuary ritual would end with the placement of the Ḻarrakitj containing the bones standing in the bush. Over time the ḻarrakitj and its contents would return to mother earth.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003eThe Ḻarrakitj has often been referred to as the mother’s womb. Once sedentary mission communities were established in Arnhem Land it became impractical to abandon permanent communities and outlawed to expose corpses on platforms. However the cosmology of the Yolŋu and the essence of ritual mortuary ceremony remains just as important. Larrakitj continue to be produced as the equivalent of headstones or to contain the personal effects of a deceased (which might be dangerous unless removed from the living because of the emanations imbued by contact with the deceased).\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003eA further role for this cultural form is as a fine art object and an instructional tool for younger generations. Artworks of this nature have multiple layers of metaphor and meaning which give lessons about the connections between an individual and specific pieces of country (both land and sea), as well as the connections between various clans but also explaining the forces that act upon and within the environment and the mechanics of a spirit’s path through existence. The knowledge referred to by this imagery deepens in complexity and secrecy as a person progresses through a life long learning process.\u003c\/span\u003e\u003c\/p\u003e","brand":"Brunswick Street Gallery","offers":[{"title":"Default Title","offer_id":52853498872106,"sku":null,"price":4950.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0678\/0374\/2506\/files\/Muluymuluy1851-26tile.jpg?v=1791441295"},{"product_id":"muluymuluy-wirrpanda-buḻwutja-7933-25","title":"Muluymuluy Wirrpanda | Buḻwutja 7933-25","description":"\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003eBuḻwutja (Dhuwa, Cycnogeton dubium) is a water yam and described in the artist's words the following:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003e\u003ci\u003e'This story is from a long time ago. People travelled around from place to place to hunt for ŋatha (food).\u003c\/i\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003e\u003ci\u003eFirst we dig in the water for Buḻwutja. Then we make a fire. When the fire burns down we take the coals to one side and put sand on top of them. Then the hot sand cooks the Buḻwutja.\u003c\/i\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003e\u003ci\u003eWhen you pick the Buḻwutja it is white from the water. It tastes sweet.\u003c\/i\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003e\u003ci\u003eWe have eaten this ŋatha for a long\u003cspan class=\"Apple-converted-space\"\u003e  \u003c\/span\u003etime. New generation always goes to the shop to get shop food.”\u003c\/i\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003eBuḻwutja described in the words of Mulkuṉ Wirrpanda in the book Miḏawarr | Harvest that was published by her and John Wolseley in 2017:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003e\u003ci\u003e'This is one of the plants which belong to the Dhuḏi-Djapu as well as the Djapu. It is a plant which is sung by my own clan. It grows in and around the billabongs and swampy areas. The plants grow in clumps aŌer the rains, and you pull them out in clumps. You cook it underground or on coals and then mash it into a blackish grey paste that is tasty and nutritious. This paste can also be baked into a bread.”\u003c\/i\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003eBuḻwutja grows on the Garaŋarri floodplain, south of Dhuruputjpi, and also at Lumatjpi, near Yilpara where the songs tell of the spirit woman Marrnyili. Men sing the songs of this food entangled with the identity of this place. They sing the journey of this woman through the landscape:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003e\u003ci\u003e“Mokuywa Ngatha Marrnyiliwa\u003c\/i\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003e\u003ci\u003eBuway buway buway\u003c\/i\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003e\u003ci\u003eMarrtji ṉämbarra ŋupan ḻarrumany.\u003c\/i\u003e\u003c\/span\u003e\u003cspan class=\"s1\"\u003e\u003ci\u003e\u003c\/i\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003e\u003ci\u003eThere they go, the spirit women Marrnyili\u003c\/i\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003e\u003ci\u003ewalking walking walking\u003c\/i\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003e\u003ci\u003ewith their knees and their elbows liŌing high in the air\u003c\/i\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003e\u003ci\u003ethis way and that threading through the paperbark saplings\u003c\/i\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003e\u003ci\u003esearching for their food”\u003c\/i\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003eMW\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e \u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003e\u003cmeta charset=\"utf-8\"\u003eḺarrakitj\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003eThis took place once it was determined that the essential eternal spirit of the deceased had completed its cyclical journey to the spring from which it had originated and would in time return again. This might be several years. Whilst the body was ‘lying in state’ others got wind of the death, perhaps by subliminal message and made preparations to journey to the site of mortuary. Usually enough time had elapsed for the bones of the deceased to be naturally cleansed on the platform. The essence of the soul within the bone was made ready for final rites when other outside participants necessary for its safe journey arrived. Ritual saw the bones of the deceased placed within the termite hollowed memorial pole for final resting. Mortuary ritual would end with the placement of the Ḻarrakitj containing the bones standing in the bush. Over time the ḻarrakitj and its contents would return to mother earth.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003eThe Ḻarrakitj has often been referred to as the mother’s womb. Once sedentary mission communities were established in Arnhem Land it became impractical to abandon permanent communities and outlawed to expose corpses on platforms. However the cosmology of the Yolŋu and the essence of ritual mortuary ceremony remains just as important. Larrakitj continue to be produced as the equivalent of headstones or to contain the personal effects of a deceased (which might be dangerous unless removed from the living because of the emanations imbued by contact with the deceased).\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003eA further role for this cultural form is as a fine art object and an instructional tool for younger generations. Artworks of this nature have multiple layers of metaphor and meaning which give lessons about the connections between an individual and specific pieces of country (both land and sea), as well as the connections between various clans but also explaining the forces that act upon and within the environment and the mechanics of a spirit’s path through existence. The knowledge referred to by this imagery deepens in complexity and secrecy as a person progresses through a life long learning process.\u003c\/span\u003e\u003c\/p\u003e","brand":"Brunswick Street Gallery","offers":[{"title":"Default Title","offer_id":52853670543658,"sku":null,"price":4950.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0678\/0374\/2506\/files\/Muluymuluy7933-25tile2.jpg?v=1791441295"},{"product_id":"muluymuluy-wirrpanda-buḻwutja-105-26","title":"Muluymuluy Wirrpanda | Buḻwutja 105-26","description":"\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003eBuḻwutja (Dhuwa, Cycnogeton dubium) is a water yam and described in the artist's words the following:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003e\u003ci\u003e'This story is from a long time ago. People travelled around from place to place to hunt for ŋatha (food).\u003c\/i\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003e\u003ci\u003eFirst we dig in the water for Buḻwutja. Then we make a fire. When the fire burns down we take the coals to one side and put sand on top of them. Then the hot sand cooks the Buḻwutja.\u003c\/i\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003e\u003ci\u003eWhen you pick the Buḻwutja it is white from the water. It tastes sweet.\u003c\/i\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003e\u003ci\u003eWe have eaten this ŋatha for a long\u003cspan class=\"Apple-converted-space\"\u003e  \u003c\/span\u003etime. New generation always goes to the shop to get shop food.”\u003c\/i\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003eBuḻwutja described in the words of Mulkuṉ Wirrpanda in the book Miḏawarr | Harvest that was published by her and John Wolseley in 2017:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003e\u003ci\u003e'This is one of the plants which belong to the Dhuḏi-Djapu as well as the Djapu. It is a plant which is sung by my own clan. It grows in and around the billabongs and swampy areas. The plants grow in clumps aŌer the rains, and you pull them out in clumps. You cook it underground or on coals and then mash it into a blackish grey paste that is tasty and nutritious. This paste can also be baked into a bread.”\u003c\/i\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003eBuḻwutja grows on the Garaŋarri floodplain, south of Dhuruputjpi, and also at Lumatjpi, near Yilpara where the songs tell of the spirit woman Marrnyili. Men sing the songs of this food entangled with the identity of this place. They sing the journey of this woman through the landscape:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003e\u003ci\u003e“Mokuywa Ngatha Marrnyiliwa\u003c\/i\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003e\u003ci\u003eBuway buway buway\u003c\/i\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003e\u003ci\u003eMarrtji ṉämbarra ŋupan ḻarrumany.\u003c\/i\u003e\u003c\/span\u003e\u003cspan class=\"s1\"\u003e\u003ci\u003e\u003c\/i\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003e\u003ci\u003eThere they go, the spirit women Marrnyili\u003c\/i\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003e\u003ci\u003ewalking walking walking\u003c\/i\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003e\u003ci\u003ewith their knees and their elbows lifting high in the air\u003c\/i\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003e\u003ci\u003ethis way and that threading through the paperbark saplings\u003c\/i\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003e\u003ci\u003esearching for their food.”\u003c\/i\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003eMW\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e \u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003e\u003cmeta charset=\"utf-8\"\u003eḺarrakitj\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003eThis took place once it was determined that the essential eternal spirit of the deceased had completed its cyclical journey to the spring from which it had originated and would in time return again. This might be several years. Whilst the body was ‘lying in state’ others got wind of the death, perhaps by subliminal message and made preparations to journey to the site of mortuary. Usually enough time had elapsed for the bones of the deceased to be naturally cleansed on the platform. The essence of the soul within the bone was made ready for final rites when other outside participants necessary for its safe journey arrived. Ritual saw the bones of the deceased placed within the termite hollowed memorial pole for final resting. Mortuary ritual would end with the placement of the Ḻarrakitj containing the bones standing in the bush. Over time the ḻarrakitj and its contents would return to mother earth.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003eThe Ḻarrakitj has often been referred to as the mother’s womb. Once sedentary mission communities were established in Arnhem Land it became impractical to abandon permanent communities and outlawed to expose corpses on platforms. However the cosmology of the Yolŋu and the essence of ritual mortuary ceremony remains just as important. Larrakitj continue to be produced as the equivalent of headstones or to contain the personal effects of a deceased (which might be dangerous unless removed from the living because of the emanations imbued by contact with the deceased).\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003eA further role for this cultural form is as a fine art object and an instructional tool for younger generations. Artworks of this nature have multiple layers of metaphor and meaning which give lessons about the connections between an individual and specific pieces of country (both land and sea), as well as the connections between various clans but also explaining the forces that act upon and within the environment and the mechanics of a spirit’s path through existence. The knowledge referred to by this imagery deepens in complexity and secrecy as a person progresses through a life long learning process.\u003c\/span\u003e\u003c\/p\u003e","brand":"Brunswick Street Gallery","offers":[{"title":"Default Title","offer_id":52853672968490,"sku":null,"price":5150.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0678\/0374\/2506\/files\/Muluymuluy105-26tile.jpg?v=1791441295"},{"product_id":"munhala-dhamarrandji-batjimurrungu-7835-21","title":"Munhala Dhamarrandji | Batjimurruŋu 7835-21","description":"\u003cp class=\"p1\"\u003eThis painting carries the miny’tji of Batjimurruŋu a shellfish of the mangroves area which climbs the aerial roots of the mangroves as the tide comes in. It is sung by the Djambarrpuyngu clan with the Guyula \/ Dhamarrandji surnames and relates to the Buckingham\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eBay area of Gurula Dhulmuwandany. It is a design learnt by the artist via her mother’s first husband and is her classificatory sister clan.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThis place and design, songs and the shellfish itself are related to the songlines of the Djaŋ'kawu sisters of the Dhuwa moiety.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eBatjimurruŋu is Cassidula angulifera or the Angular Ear Shell. The synonyms are miniminipi and mitjalaŋaniŋ.\u003c\/p\u003e","brand":"Brunswick Street Gallery","offers":[{"title":"Default Title","offer_id":52862482383146,"sku":null,"price":2400.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0678\/0374\/2506\/files\/Munhala_7835-21.jpg?v=1791347702"},{"product_id":"munhala-dhamarrandji-batjimurrungu-2184-22","title":"Munhala Dhamarrandji | Batjimurruŋu 2184-22","description":"\u003cp class=\"p1\"\u003eThis painting carries the miny’tji of Batjimurruŋu a shellfish of the mangroves area which climbs the aerial roots of the mangroves as the tide comes in. It is sung by the Djambarrpuyngu clan with the Guyula \/ Dhamarrandji surnames and relates to the Buckingham\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eBay area of Gurula Dhulmuwandany. It is a design learnt by the artist via her mother’s first husband and is her classificatory sister clan.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThis place and design, songs and the shellfish itself are related to the songlines of the Djaŋ'kawu sisters of the Dhuwa moiety.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eBatjimurruŋu is Cassidula angulifera or the Angular Ear Shell. The synonyms are miniminipi and mitjalaŋaniŋ.\u003c\/p\u003e","brand":"Brunswick Street Gallery","offers":[{"title":"Default Title","offer_id":52862575542570,"sku":null,"price":6200.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0678\/0374\/2506\/files\/Munhala_2184-22.jpg?v=1791347702"},{"product_id":"munhala-dhamarrandji-batjimurrungu-4143-22","title":"Munhala Dhamarrandji | Batjimurruŋu 4143-22","description":"\u003cp class=\"p1\"\u003eThis painting carries the miny’tji of Batjimurruŋu a shellfish of the mangroves area which climbs the aerial roots of the mangroves as the tide comes in. It is sung by the Djambarrpuyngu clan with the Guyula \/ Dhamarrandji surnames and relates to the Buckingham\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eBay area of Gurula Dhulmuwandany. It is a design learnt by the artist via her mother’s first husband and is her classificatory sister clan.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThis place and design, songs and the shellfish itself are related to the songlines of the Djaŋ'kawu sisters of the Dhuwa moiety.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eBatjimurruŋu is Cassidula angulifera or the Angular Ear Shell. The synonyms are miniminipi and mitjalaŋaniŋ.\u003c\/p\u003e","brand":"Brunswick Street Gallery","offers":[{"title":"Default Title","offer_id":52862591172906,"sku":null,"price":1500.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0678\/0374\/2506\/files\/Munhala_4143-22.jpg?v=1791347701"},{"product_id":"datjuluma-guyula-gunyan-5323-23","title":"Datjuluma Guyula | Gunyan 5323-23","description":"\u003cp class=\"p1\"\u003eDatjuluma produced this work with reference to her mothers country at Djarrakpi which is at the base of Cape Shield, the northern perimeter of Blue Mud Bay. This Maŋgalili country is also site of one of the Ancestral ceremonial\/burial grounds called the Yiŋapuŋapu.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe Yiŋapuŋapu is a low relief sand sculpture designed to keep any contamination of death at bay as traditionally the body of the deceased was placed within it for initial mortuary rites, to cleanse the bones of dangerous spirits held within the body tissue. A metaphor for this action of cleansing is utilised by the Maŋgalili in their sacred paintings by way of depicting Mirriya or Gunyan the sand or ghost crab picking the bones of a fish carcass on the beach. Contemporary Maŋgalili on the beaches of Djarrakpi put their food scraps in one place when at camp - the secular Yiŋupuŋapu. This painting shows the totemic Mirriya which feeds on the Ancestral remains of the parrot fish Yambirrku. The miny’tji or sacred clan design for the sandscapes of Djarrakpi both adorn and surround the crabs. In traditional mortuary ceremony for this clan the last act is to catch and eat Yambirrku and dispose of the bones in the ceremonial sand sculpture for the crabs to pick clean overnight.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eSo a canoe and paddles were made and their journey began by paddling down the Milŋiyawuy River which flows into the Blue Mud Bay near Djarrakpi. In the bay, at a place of significance, strong winds developed and a wake from the ancestral turtle capsized the canoe - the men drowned. At this place is the site of Yiŋalpiya, the freshwater crocodile’s nesting place. This same place is the spirit source for Maŋgalili people.\u003c\/p\u003e","brand":"Brunswick Street Gallery","offers":[{"title":"Default Title","offer_id":52862603133226,"sku":null,"price":2400.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0678\/0374\/2506\/files\/Datjuluma_5323-23.jpg?v=1791347702"},{"product_id":"datjuluma-guyula-gunyan-3781-24","title":"Datjuluma Guyula | Gunyan 3781-24","description":"\u003cp class=\"p1\"\u003eDatjuluma produced this work with reference to her mothers country at Djarrakpi which is at the base of Cape Shield, the northern perimeter of Blue Mud Bay. This Maŋgalili country is also site of one of the Ancestral ceremonial\/burial grounds called the Yiŋapuŋapu.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe Yiŋapuŋapu is a low relief sand sculpture designed to keep any contamination of death at bay as traditionally the body of the deceased was placed within it for initial mortuary rites, to cleanse the bones of dangerous spirits held within the body tissue. A metaphor for this action of cleansing is utilised by the Maŋgalili in their sacred paintings by way of depicting Mirriya or Gunyan the sand or ghost crab picking the bones of a fish carcass on the beach. Contemporary Maŋgalili on the beaches of Djarrakpi put their food scraps in one place when at camp - the secular Yiŋupuŋapu. This painting shows the totemic Mirriya which feeds on the Ancestral remains of the parrot fish Yambirrku. The miny’tji or sacred clan design for the sandscapes of Djarrakpi both adorn and surround the crabs. In traditional mortuary ceremony for this clan the last act is to catch and eat Yambirrku and dispose of the bones in the ceremonial sand sculpture for the crabs to pick clean overnight.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eSo a canoe and paddles were made and their journey began by paddling down the Milŋiyawuy River which flows into the Blue Mud Bay near Djarrakpi. In the bay, at a place of significance, strong winds developed and a wake from the ancestral turtle capsized the canoe - the men drowned. At this place is the site of Yiŋalpiya, the freshwater crocodile’s nesting place. This same place is the spirit source for Maŋgalili people.\u003c\/p\u003e","brand":"Brunswick Street Gallery","offers":[{"title":"Default Title","offer_id":52862651269418,"sku":null,"price":2400.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0678\/0374\/2506\/files\/Datjuluma3781-24.jpg?v=1791347701"},{"product_id":"mathuray-maymuru-nyapilingu-manggalili-4666-26","title":"Mathuray Maymuru | Nyapiliŋu (Maŋgalili) 4666-26","description":"\u003cp class=\"p1\"\u003eNyapiliŋu is a spirit woman who lived in Wangarr times, the Dreaming. Nyapiliŋu set out from Ambakamba (Groote Eylandt) in a paper bark canoe and travelled across to the mainland and then north and west as far as the central Arnhem Land coast. Wherever she went she marked the country with her \u003cmeta charset=\"utf-8\"\u003eactivities.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eShe is remembered by the people at these sites, who sing and dance her story. Nyapiliŋu gave important culture to the people whose country she passed through. She wrapped herself in a sheet of paperbark so that men could not see her body, so women followed her in this. She used Wapitja (digging stick) to collect food and to peel the bark from the stringybark tree and she made containers from paperbark which she carried on her head. Nyapiliŋu also taught women how to look for the water lily ‘yoku’ and prepare it for eating, and how to make string and weave pandanus for bathi (dilly bags).\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe possum fur string which she wore in a cross shaped arrangement across her chest is a signature of hers. The ribbons of crosshatching or miny’tji belongs only to the Maŋgalili, levels of meaning include tracts of sacred sand at Djarrakpi. Nyapiliŋu is particularly important to Maŋgalili people. One of their most important sacred sites, Djarrakpi is associated with her activities. She also passed through Dhalwaŋu and Maḏarrpa country, and these people may also paint or dance her Dreaming.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe part of her story belonging to each clan refers to her \u003cmeta charset=\"utf-8\"\u003eactivities in that clan’s country. In her travels through Maŋgalili country, Nyapiliŋu travelled with Guwak (night bird) and Marrŋu (possum), making Maŋgalili totems, giving the people sacred objects and ceremony, and using Wapitja, her digging stick, for stripping bark from trees, and making Maŋgalili water holes - as she plunged her Wapitja into the ground, water would spring up.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eNyapiliŋu’s spirit resides at Djarrakpi, in high sandunes that rim the sacred saltwater lake there on its seaward side. From the other ‘land’ side of the lake Malwiya the Ancestral Emu travelled looking for water. With his Makul (spear) and Galpu (woomera) digging the dry bed unsuccessfully led to frustration. Malwiya threw his spears over Nyapiliŋu’s sand dunes and into the sea connecting the Maŋgalili land or freshwater side to the feminine saltwater.\u003c\/p\u003e","brand":"Brunswick Street Gallery","offers":[{"title":"Default Title","offer_id":52879336636714,"sku":null,"price":1750.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0678\/0374\/2506\/files\/Mathuray_Maymuru_4666-26.jpg?v=1791417972"},{"product_id":"mathuray-maymuru-nyapilingu-4326-26","title":"Mathuray Maymuru | Nyapiliŋu 4326-26","description":"\u003cp class=\"p1\"\u003eNyapiliŋu is a spirit woman who lived in Wangarr times, the Dreaming. Nyapiliŋu set out from Ambakamba (Groote Eylandt) in a paper bark canoe and travelled across to the mainland and then north and west as far as the central Arnhem Land coast. Wherever she went she marked the country with her \u003cmeta charset=\"utf-8\"\u003eactivities.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eShe is remembered by the people at these sites, who sing and dance her story. Nyapiliŋu gave important culture to the people whose country she passed through. She wrapped herself in a sheet of paperbark so that men could not see her body, so women followed her in this. She used Wapitja (digging stick) to collect food and to peel the bark from the stringybark tree and she made containers from paperbark which she carried on her head. Nyapiliŋu also taught women how to look for the water lily ‘yoku’ and prepare it for eating, and how to make string and weave pandanus for bathi (dilly bags).\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe possum fur string which she wore in a cross shaped arrangement across her chest is a signature of hers. The ribbons of crosshatching or miny’tji belongs only to the Maŋgalili, levels of meaning include tracts of sacred sand at Djarrakpi. Nyapiliŋu is particularly important to Maŋgalili people. One of their most important sacred sites, Djarrakpi is associated with her activities. She also passed through Dhalwaŋu and Maḏarrpa country, and these people may also paint or dance her Dreaming.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe part of her story belonging to each clan refers to her \u003cmeta charset=\"utf-8\"\u003eactivities in that clan’s country. In her travels through Maŋgalili country, Nyapiliŋu travelled with Guwak (night bird) and Marrŋu (possum), making Maŋgalili totems, giving the people sacred objects and ceremony, and using Wapitja, her digging stick, for stripping bark from trees, and making Maŋgalili water holes - as she plunged her Wapitja into the ground, water would spring up.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eNyapiliŋu’s spirit resides at Djarrakpi, in high sandunes that rim the sacred saltwater lake there on its seaward side. From the other ‘land’ side of the lake Malwiya the Ancestral Emu travelled looking for water. With his Makul (spear) and Galpu (woomera) digging the dry bed unsuccessfully led to frustration. Malwiya threw his spears over Nyapiliŋu’s sand dunes and into the sea connecting the Maŋgalili land or freshwater side to the feminine saltwater.\u003c\/p\u003e","brand":"Brunswick Street Gallery","offers":[{"title":"Default Title","offer_id":52879360622890,"sku":null,"price":1100.0,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0678\/0374\/2506\/files\/Mathuray_Maymuru_4326-26.jpg?v=1791417972"},{"product_id":"mathuray-maymuru-mokuy-1521-25","title":"Mathuray Maymuru | Mokuy 1521-25","description":"\u003cp class=\"p1\"\u003eMokuy translates as spirit. This work is a decorative piece made from renewable wood which is usually harvested from the tree in the dry season. Preferred woods are Maḻwan (Hibiscus Tiliaceus), Gunhirr (Blind-Your-Eye-Mangrove), Wuḏuku (mangrove wood), Barraṯa (Kapok). The first activity is to enter the monsoon vine thicket and cut the wood and carry it back to the vehicle. Often a long hike through prickly vines and scrub. the wood is skinned and left to dry for a short period. It is then shaped by knife or axe. After the surface is sanded smooth a layer of red paint is usually the first to go down. The paints used are earth pigments. The red (meku), yellow (Gaŋgul) and black (gurrŋan) are provided by rubbing rocks of these colours against a grinding stone and then adding water and PVA glue in small quantities. A new batch of paint is prepared or renewed every few minutes as it dries or is used up. After an outline of the composition is laid down the marwat or crosshatching commences. This is applied using a brush made of a few strands of straight human hair usually from a young woman or girl. The artist charges the marwat (brush) with the paint and then paints away from themselves in a straight line. Each stroke requires a fresh infusion of pigment. The last layer to be applied is almost always the white clay or gapan which is made from kaolin harvested from special sites. This also has water and glue added after being crushed into a fine powder. An alternative to painting the cross hatching is to use a razor to incise fine lines and reveal the light coloured wood underneath.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eMost works are made in the homelands as a means of obtaining extra income to defray the huge expenses of travel and freight residents suffer from.\u003c\/p\u003e","brand":"Brunswick Street Gallery","offers":[{"title":"Default Title","offer_id":52879363014954,"sku":null,"price":900.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0678\/0374\/2506\/files\/Mathuray_Maymuru_1521-25.jpg?v=1791417972"},{"product_id":"djalpat-wanambi-wuyal-239-26","title":"Djalpat Wanambi | Wuyal 239-26","description":"\u003cp class=\"p1\"\u003eThis work is about Wuyal, the ancestral sugarbag man, an important ancestor of the Marrakulu clan of northeast Arnhem Land. This painting symbolizes his journey during which he named important sites and certain animals. The painting refers also to the continuation of the Marrakulu culture in dance, song and ceremony, which are performed by current generations who have inherited this knowledge and culture from ancestral figures such as Wuyal. This story refers also to important Dhuwa moiety ancestors called the Wawilak sisters.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eWuyal was the first man to look for any homeland for the Marrakulu people. He began a journey from Gurka’wuy traveling via Yuḏuyuḏu to Cape Shield, up to Trial Bay and along the course of the Goyder River until he came to Nhulun, or Mt. Saunders.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eTraveling along with Wuyal, was Ganyt'jalala. These men are symbolic of the Märi-Guthara (grandparent-grandchild) relationship which describes the relationship between Ḏäṯiwuy and Marrakulu clans.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eWuyal carried with him tools for hunting animals and for collecting wild honey or sugarbag. The dilly bag, Banduk, worn around his neck, was used to carry the sugarbag called guku. Wuyal used a stone axe, djalpaṯ, to cut down trees in his search for sugarbag. He also carried a stone headed spear for hunting rock wallabies, Ḏulaku. The stone head of the spear, Guyarra, is made from stone found at a place called Nilipitji. The shaft of the spear is called guṉḏit. Also carried was gaḻpu, a spearthrower.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eIn their ancestral travels these men traveled alone without wives and conducted what was mens’ business in ceremony. Wuyal’s ceremonial ground where he danced and conducted sacred ceremony, a place near Buffalo Creek and Mt. Saunders, is called Wandjipuy.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe tools were also used in shaping the land. Trees cut down by Wuyal in the search for sugarbag, turned into rivers. The Gurka’wuy  river was made in this way. Wuyal also named places by throwing his boomerang, Gunyalili, and giving names to the places where it fell to the ground. From Mt. Saunders he threw his Gunyalili and named a place called Gäluru in this way.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eBees are the creators of the honey from these flowers. The continuum between the environment, the art and the sacred foundation of the Marrakulu is completed when the Marrakulu dance as bees in their ceremony elbows extended, hands clutching stringybark leaves which vibrate as wings.\u003c\/p\u003e","brand":"Brunswick Street Gallery","offers":[{"title":"Default Title","offer_id":52879480062250,"sku":null,"price":2800.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0678\/0374\/2506\/files\/Djalpat_Wanambi_239-26.jpg?v=1791418539"},{"product_id":"djalpat-wanambi-wuyal-7687-24","title":"Djalpat Wanambi | Wuyal 7687-24","description":"\u003cp class=\"p1\"\u003eThis work is about Wuyal, the ancestral sugarbag man, an important ancestor of the Marrakulu clan of northeast Arnhem Land. This painting symbolizes his journey during which he named important sites and certain animals. The painting refers also to the continuation of the Marrakulu culture in dance, song and ceremony, which are performed by current generations who have inherited this knowledge and culture from ancestral figures such as Wuyal. This story refers also to important Dhuwa moiety ancestors called the Wawilak sisters.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eWuyal was the first man to look for any homeland for the Marrakulu people. He began a journey from Gurka’wuy traveling via Yuḏuyuḏu to Cape Shield, up to Trial Bay and along the course of the Goyder River until he came to Nhulun, or Mt. Saunders.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eTraveling along with Wuyal, was Ganyt'jalala. These men are symbolic of the Märi-Guthara (grandparent-grandchild) relationship which describes the relationship between Ḏäṯiwuy and Marrakulu clans.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eWuyal carried with him tools for hunting animals and for collecting wild honey or sugarbag. The dilly bag, Banduk, worn around his neck, was used to carry the sugarbag called guku. Wuyal used a stone axe, djalpaṯ, to cut down trees in his search for sugarbag. He also carried a stone headed spear for hunting rock wallabies, Ḏulaku. The stone head of the spear, Guyarra, is made from stone found at a place called Nilipitji. The shaft of the spear is called guṉḏit. Also carried was gaḻpu, a spearthrower.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eIn their ancestral travels these men traveled alone without wives and conducted what was mens’ business in ceremony. Wuyal’s ceremonial ground where he danced and conducted sacred ceremony, a place near Buffalo Creek and Mt. Saunders, is called Wandjipuy.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe tools were also used in shaping the land. Trees cut down by Wuyal in the search for sugarbag, turned into rivers. The Gurka’wuy  river was made in this way. Wuyal also named places by throwing his boomerang, Gunyalili, and giving names to the places where it fell to the ground. From Mt. Saunders he threw his Gunyalili and named a place called Gäluru in this way.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eBees are the creators of the honey from these flowers. The continuum between the environment, the art and the sacred foundation of the Marrakulu is completed when the Marrakulu dance as bees in their ceremony elbows extended, hands clutching stringybark leaves which vibrate as wings.\u003c\/p\u003e","brand":"Brunswick Street Gallery","offers":[{"title":"Default Title","offer_id":52879510077738,"sku":null,"price":2500.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0678\/0374\/2506\/files\/Djalpat_Wanambi_7687-24.jpg?v=1791418546"},{"product_id":"djalpat-wanambi-wuyal-8653-24","title":"Djalpat Wanambi | Wuyal 8653-24","description":"\u003cp class=\"p1\"\u003eThis work is about Wuyal, the ancestral sugarbag man, an important ancestor of the Marrakulu clan of northeast Arnhem Land. This painting symbolizes his journey during which he named important sites and certain animals. The painting refers also to the continuation of the Marrakulu culture in dance, song and ceremony, which are performed by current generations who have inherited this knowledge and culture from ancestral figures such as Wuyal. This story refers also to important Dhuwa moiety ancestors called the Wawilak sisters.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eWuyal was the first man to look for any homeland for the Marrakulu people. He began a journey from Gurka’wuy traveling via Yuḏuyuḏu to Cape Shield, up to Trial Bay and along the course of the Goyder River until he came to Nhulun, or Mt. Saunders.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eTraveling along with Wuyal, was Ganyt'jalala. These men are symbolic of the Märi-Guthara (grandparent-grandchild) relationship which describes the relationship between Ḏäṯiwuy and Marrakulu clans.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eWuyal carried with him tools for hunting animals and for collecting wild honey or sugarbag. The dilly bag, Banduk, worn around his neck, was used to carry the sugarbag called guku. Wuyal used a stone axe, djalpaṯ, to cut down trees in his search for sugarbag. He also carried a stone headed spear for hunting rock wallabies, Ḏulaku. The stone head of the spear, Guyarra, is made from stone found at a place called Nilipitji. The shaft of the spear is called guṉḏit. Also carried was gaḻpu, a spearthrower.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eIn their ancestral travels these men traveled alone without wives and conducted what was mens’ business in ceremony. Wuyal’s ceremonial ground where he danced and conducted sacred ceremony, a place near Buffalo Creek and Mt. Saunders, is called Wandjipuy.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe tools were also used in shaping the land. Trees cut down by Wuyal in the search for sugarbag, turned into rivers. The Gurka’wuy  river was made in this way. Wuyal also named places by throwing his boomerang, Gunyalili, and giving names to the places where it fell to the ground. From Mt. Saunders he threw his Gunyalili and named a place called Gäluru in this way.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eBees are the creators of the honey from these flowers. The continuum between the environment, the art and the sacred foundation of the Marrakulu is completed when the Marrakulu dance as bees in their ceremony elbows extended, hands clutching stringybark leaves which vibrate as wings.\u003c\/p\u003e","brand":"Brunswick Street Gallery","offers":[{"title":"Default Title","offer_id":52879515910442,"sku":null,"price":2300.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0678\/0374\/2506\/files\/Djalpat_Wanambi_8653-24.jpg?v=1791418374"},{"product_id":"balwaldja-wanapa-mununggurr-yirrkala-3560-25","title":"Balwaldja Wanapa Munuŋgurr | Yirrkala 3560-25","description":"\u003cp class=\"p1\"\u003eSince the mid 1990’s Bruce Balwaldja Munuŋgurr has been the mainstay of the Buku Art Crew. This is the team of men who attend work daily and drive out bush to cut bark in the Wet Season and larrakitj (memorial poles) in the Dry. They custom make aluminium frames for each bark. They burn the barks with blow torches to dry and flatten them. They sand the barks once dry. They drive for hours to collect earth pigments from known sites. They carefully and expertly pack the millions of dollars worth of artwork which leaves the centre every year. They collect supplies from the nearby mining town. They drive out to remote homelands to deliver and pick up artists and artworks.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThey do this as a team and so if one goes, all go. Many hands make light of the hardest work. They are humble, uncomplaining, tough, resourceful and always laughing. In the back shed where most of tehse activities take place the radio is firmly fixed to Yolŋu Radio and the volume at eleven.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThrough these decades perhaps the quietest of all has been Bruce. Universally known as Wanapa he has maintained a constant energy of quiet achievement which the rest of the team fit into and flow with. No fretted brow or nagging bosses. Just a gentle easy happy hum of communal productivity.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cem\u003eWanapa\u003c\/em\u003e is a slang Yolŋu version of something like ‘Wassup!?’ The moniker’s origins obscure but a suitably humble one for him.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eWanapa is similarly dedicated but low key in honouring his ceremonial duty. Attending all ceremonies full time and dancing and singing with energy not just when the focus is on but deep into the night when the crowd has left. His mother is from a small arm of the Gumatj and she was famous as a dancer especially in the hilarious dhapi (circumcision) rituals. Gender reversal and absurdist choreography make the dances at this ceremony a riotous comedic affair whilst the songs stay on track in their ancestral immutability. And Wanapa himself is famous for slipping into a dress with some oranges in his bra and a wig on his head. He parodies vigorous inexpert women’s dancing and makes the families of the initiates roar with laughter.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eFaithfully attending to servicing the artists every day for over twenty years Bruce showed no signs of needing to become one. Happy and humble to provide the wiry muscle behind the engine room of the art centre. Until one morning in late 2020 after a year of lockdown he came to work with some line drawings on the back of discarded print proofs.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eSince then his loving portrayals of places he knows intimately have been appearing in bursts of weekend and after work activity. The humility and gentleness of his personality shine through. As does the persistent, determined drive to productive action. To use what he has to make the world a balanced happy place.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eHe surprised again when he brought in a bark which followed his landscape representations of places he knew but rendered them in bark using clever tonal techniques. In this case it is Waṉḏawuy, the inland Djapu clan homeland three hours from Yirrkala which is his clan homeland. Incredibly this is an accurate depiction of the placement and number of each of those houses.\u003c\/p\u003e","brand":"Brunswick Street Gallery","offers":[{"title":"Default Title","offer_id":52893247635754,"sku":null,"price":450.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0678\/0374\/2506\/files\/Balwaldja_3560-25.jpg?v=1791518848"},{"product_id":"balwaldja-wanapa-mununggurr-welcome-to-gutjangan-3975-25","title":"Balwaldja Wanapa Munuŋgurr | Welcome to Gutjaŋan 3975-25","description":"\u003cp class=\"p1\"\u003eSince the mid 1990’s Bruce Balwaldja Munuŋgurr has been the mainstay of the Buku Art Crew. This is the team of men who attend work daily and drive out bush to cut bark in the Wet Season and larrakitj (memorial poles) in the Dry. They custom make aluminium frames for each bark. They burn the barks with blow torches to dry and flatten them. They sand the barks once dry. They drive for hours to collect earth pigments from known sites. They carefully and expertly pack the millions of dollars worth of artwork which leaves the centre every year. They collect supplies from the nearby mining town. They drive out to remote homelands to deliver and pick up artists and artworks.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThey do this as a team and so if one goes, all go. Many hands make light of the hardest work. They are humble, uncomplaining, tough, resourceful and always laughing. In the back shed where most of tehse activities take place the radio is firmly fixed to Yolŋu Radio and the volume at eleven.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThrough these decades perhaps the quietest of all has been Bruce. Universally known as Wanapa he has maintained a constant energy of quiet achievement which the rest of the team fit into and flow with. No fretted brow or nagging bosses. Just a gentle easy happy hum of communal productivity.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cem\u003eWanapa\u003c\/em\u003e is a slang Yolŋu version of something like ‘Wassup!?’ The moniker’s origins obscure but a suitably humble one for him.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eWanapa is similarly dedicated but low key in honouring his ceremonial duty. Attending all ceremonies full time and dancing and singing with energy not just when the focus is on but deep into the night when the crowd has left. His mother is from a small arm of the Gumatj and she was famous as a dancer especially in the hilarious dhapi (circumcision) rituals. Gender reversal and absurdist choreography make the dances at this ceremony a riotous comedic affair whilst the songs stay on track in their ancestral immutability. And Wanapa himself is famous for slipping into a dress with some oranges in his bra and a wig on his head. He parodies vigorous inexpert women’s dancing and makes the families of the initiates roar with laughter.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eFaithfully attending to servicing the artists every day for over twenty years Bruce showed no signs of needing to become one. Happy and humble to provide the wiry muscle behind the engine room of the art centre. Until one morning in late 2020 after a year of lockdown he came to work with some line drawings on the back of discarded print proofs.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eSince then his loving portrayals of places he knows intimately have been appearing in bursts of weekend and after work activity. The humility and gentleness of his personality shine through. As does the persistent, determined drive to productive action. To use what he has to make the world a balanced happy place.\u003c\/p\u003e","brand":"Brunswick Street Gallery","offers":[{"title":"Default Title","offer_id":52893249405226,"sku":null,"price":850.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0678\/0374\/2506\/files\/Balwaldja_3975-25.jpg?v=1791518893"},{"product_id":"balwaldja-wanapa-mununggurr-welcome-to-gutjangan-3306-25","title":"Balwaldja Wanapa Munuŋgurr | Welcome to Gutjaŋan 3306-25","description":"\u003cp class=\"p1\"\u003eSince the mid 1990’s Bruce Balwaldja Munuŋgurr has been the mainstay of the Buku Art Crew. This is the team of men who attend work daily and drive out bush to cut bark in the Wet Season and larrakitj (memorial poles) in the Dry. They custom make aluminium frames for each bark. They burn the barks with blow torches to dry and flatten them. They sand the barks once dry. They drive for hours to collect earth pigments from known sites. They carefully and expertly pack the millions of dollars worth of artwork which leaves the centre every year. They collect supplies from the nearby mining town. They drive out to remote homelands to deliver and pick up artists and artworks.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThey do this as a team and so if one goes, all go. Many hands make light of the hardest work. They are humble, uncomplaining, tough, resourceful and always laughing. In the back shed where most of tehse activities take place the radio is firmly fixed to Yolŋu Radio and the volume at eleven.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThrough these decades perhaps the quietest of all has been Bruce. Universally known as Wanapa he has maintained a constant energy of quiet achievement which the rest of the team fit into and flow with. No fretted brow or nagging bosses. Just a gentle easy happy hum of communal productivity.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cem\u003eWanapa\u003c\/em\u003e is a slang Yolŋu version of something like ‘Wassup!?’ The moniker’s origins obscure but a suitably humble one for him.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eWanapa is similarly dedicated but low key in honouring his ceremonial duty. Attending all ceremonies full time and dancing and singing with energy not just when the focus is on but deep into the night when the crowd has left. His mother is from a small arm of the Gumatj and she was famous as a dancer especially in the hilarious dhapi (circumcision) rituals. Gender reversal and absurdist choreography make the dances at this ceremony a riotous comedic affair whilst the songs stay on track in their ancestral immutability. And Wanapa himself is famous for slipping into a dress with some oranges in his bra and a wig on his head. He parodies vigorous inexpert women’s dancing and makes the families of the initiates roar with laughter.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eFaithfully attending to servicing the artists every day for over twenty years Bruce showed no signs of needing to become one. Happy and humble to provide the wiry muscle behind the engine room of the art centre. Until one morning in late 2020 after a year of lockdown he came to work with some line drawings on the back of discarded print proofs.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eSince then his loving portrayals of places he knows intimately have been appearing in bursts of weekend and after work activity. The humility and gentleness of his personality shine through. As does the persistent, determined drive to productive action. To use what he has to make the world a balanced happy place.\u003c\/p\u003e","brand":"Brunswick Street Gallery","offers":[{"title":"Default Title","offer_id":52893264576810,"sku":null,"price":850.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0678\/0374\/2506\/files\/Balwaldja_3306-25.jpg?v=1791518851"},{"product_id":"balwaldja-wanapa-mununggurr-welcome-to-barrartjpi-3698-25","title":"Balwaldja Wanapa Munuŋgurr | Welcome to Barrartjpi 3698-25","description":"\u003cp class=\"p1\"\u003eSince the mid 1990’s Bruce Balwaldja Munuŋgurr has been the mainstay of the Buku Art Crew. This is the team of men who attend work daily and drive out bush to cut bark in the Wet Season and larrakitj (memorial poles) in the Dry. They custom make aluminium frames for each bark. They burn the barks with blow torches to dry and flatten them. They sand the barks once dry. They drive for hours to collect earth pigments from known sites. They carefully and expertly pack the millions of dollars worth of artwork which leaves the centre every year. They collect supplies from the nearby mining town. They drive out to remote homelands to deliver and pick up artists and artworks.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThey do this as a team and so if one goes, all go. Many hands make light of the hardest work. They are humble, uncomplaining, tough, resourceful and always laughing. In the back shed where most of tehse activities take place the radio is firmly fixed to Yolŋu Radio and the volume at eleven.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThrough these decades perhaps the quietest of all has been Bruce. Universally known as Wanapa he has maintained a constant energy of quiet achievement which the rest of the team fit into and flow with. No fretted brow or nagging bosses. Just a gentle easy happy hum of communal productivity.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cem\u003eWanapa\u003c\/em\u003e is a slang Yolŋu version of something like ‘Wassup!?’ The moniker’s origins obscure but a suitably humble one for him.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eWanapa is similarly dedicated but low key in honouring his ceremonial duty. Attending all ceremonies full time and dancing and singing with energy not just when the focus is on but deep into the night when the crowd has left. His mother is from a small arm of the Gumatj and she was famous as a dancer especially in the hilarious dhapi (circumcision) rituals. Gender reversal and absurdist choreography make the dances at this ceremony a riotous comedic affair whilst the songs stay on track in their ancestral immutability. And Wanapa himself is famous for slipping into a dress with some oranges in his bra and a wig on his head. He parodies vigorous inexpert women’s dancing and makes the families of the initiates roar with laughter.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eFaithfully attending to servicing the artists every day for over twenty years Bruce showed no signs of needing to become one. Happy and humble to provide the wiry muscle behind the engine room of the art centre. Until one morning in late 2020 after a year of lockdown he came to work with some line drawings on the back of discarded print proofs.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eSince then his loving portrayals of places he knows intimately have been appearing in bursts of weekend and after work activity. The humility and gentleness of his personality shine through. As does the persistent, determined drive to productive action. To use what he has to make the world a balanced happy place.\u003c\/p\u003e","brand":"Brunswick Street Gallery","offers":[{"title":"Default Title","offer_id":52893269819690,"sku":null,"price":450.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0678\/0374\/2506\/files\/Balwaldja_3698-25.jpg?v=1791518847"},{"product_id":"balwaldja-wanapa-mununggurr-wandawuy-3514-25","title":"Balwaldja Wanapa Munuŋgurr | Wandawuy 3514-25","description":"\u003cp class=\"p1\"\u003eSince the mid 1990’s Bruce Balwaldja Munuŋgurr has been the mainstay of the Buku Art Crew. This is the team of men who attend work daily and drive out bush to cut bark in the Wet Season and larrakitj (memorial poles) in the Dry. They custom make aluminium frames for each bark. They burn the barks with blow torches to dry and flatten them. They sand the barks once dry. They drive for hours to collect earth pigments from known sites. They carefully and expertly pack the millions of dollars worth of artwork which leaves the centre every year. They collect supplies from the nearby mining town. They drive out to remote homelands to deliver and pick up artists and artworks.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThey do this as a team and so if one goes, all go. Many hands make light of the hardest work. They are humble, uncomplaining, tough, resourceful and always laughing. In the back shed where most of tehse activities take place the radio is firmly fixed to Yolŋu Radio and the volume at eleven.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThrough these decades perhaps the quietest of all has been Bruce. Universally known as Wanapa he has maintained a constant energy of quiet achievement which the rest of the team fit into and flow with. No fretted brow or nagging bosses. Just a gentle easy happy hum of communal productivity.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cem\u003eWanapa\u003c\/em\u003e is a slang Yolŋu version of something like ‘Wassup!?’ The moniker’s origins obscure but a suitably humble one for him.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eWanapa is similarly dedicated but low key in honouring his ceremonial duty. Attending all ceremonies full time and dancing and singing with energy not just when the focus is on but deep into the night when the crowd has left. His mother is from a small arm of the Gumatj and she was famous as a dancer especially in the hilarious dhapi (circumcision) rituals. Gender reversal and absurdist choreography make the dances at this ceremony a riotous comedic affair whilst the songs stay on track in their ancestral immutability. And Wanapa himself is famous for slipping into a dress with some oranges in his bra and a wig on his head. He parodies vigorous inexpert women’s dancing and makes the families of the initiates roar with laughter.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eFaithfully attending to servicing the artists every day for over twenty years Bruce showed no signs of needing to become one. Happy and humble to provide the wiry muscle behind the engine room of the art centre. Until one morning in late 2020 after a year of lockdown he came to work with some line drawings on the back of discarded print proofs.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eSince then his loving portrayals of places he knows intimately have been appearing in bursts of weekend and after work activity. The humility and gentleness of his personality shine through. As does the persistent, determined drive to productive action. To use what he has to make the world a balanced happy place.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eHe surprised again when he brought in a bark which followed his landscape representations of places he knew but rendered them in bark using clever tonal techniques. In this case it is Waṉḏawuy, the inland Djapu clan homeland three hours from Yirrkala which is his clan homeland. Incredibly this is an accurate depiction of the placement and number of each of those houses.\u003c\/p\u003e","brand":"Brunswick Street Gallery","offers":[{"title":"Default Title","offer_id":52893275291946,"sku":null,"price":850.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0678\/0374\/2506\/files\/Balwaldja_3514-25.jpg?v=1791518851"},{"product_id":"balwaldja-wanapa-mununggurr-gurrumuru-5569-25","title":"Balwaldja Wanapa Munuŋgurr | Gurrumurru 5569-25","description":"\u003cp class=\"p1\"\u003eSince the mid 1990’s Bruce Balwaldja Munuŋgurr has been the mainstay of the Buku Art Crew. This is the team of men who attend work daily and drive out bush to cut bark in the Wet Season and larrakitj (memorial poles) in the Dry. They custom make aluminium frames for each bark. They burn the barks with blow torches to dry and flatten them. They sand the barks once dry. They drive for hours to collect earth pigments from known sites. They carefully and expertly pack the millions of dollars worth of artwork which leaves the centre every year. They collect supplies from the nearby mining town. They drive out to remote homelands to deliver and pick up artists and artworks.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThey do this as a team and so if one goes, all go. Many hands make light of the hardest work. They are humble, uncomplaining, tough, resourceful and always laughing. In the back shed where most of tehse activities take place the radio is firmly fixed to Yolŋu Radio and the volume at eleven.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThrough these decades perhaps the quietest of all has been Bruce. Universally known as Wanapa he has maintained a constant energy of quiet achievement which the rest of the team fit into and flow with. No fretted brow or nagging bosses. Just a gentle easy happy hum of communal productivity.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cem\u003eWanapa\u003c\/em\u003e is a slang Yolŋu version of something like ‘Wassup!?’ The moniker’s origins obscure but a suitably humble one for him.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eWanapa is similarly dedicated but low key in honouring his ceremonial duty. Attending all ceremonies full time and dancing and singing with energy not just when the focus is on but deep into the night when the crowd has left. His mother is from a small arm of the Gumatj and she was famous as a dancer especially in the hilarious dhapi (circumcision) rituals. Gender reversal and absurdist choreography make the dances at this ceremony a riotous comedic affair whilst the songs stay on track in their ancestral immutability. And Wanapa himself is famous for slipping into a dress with some oranges in his bra and a wig on his head. He parodies vigorous inexpert women’s dancing and makes the families of the initiates roar with laughter.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eFaithfully attending to servicing the artists every day for over twenty years Bruce showed no signs of needing to become one. Happy and humble to provide the wiry muscle behind the engine room of the art centre. Until one morning in late 2020 after a year of lockdown he came to work with some line drawings on the back of discarded print proofs.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eSince then his loving portrayals of places he knows intimately have been appearing in bursts of weekend and after work activity. The humility and gentleness of his personality shine through. As does the persistent, determined drive to productive action. To use what he has to make the world a balanced happy place.\u003c\/p\u003e","brand":"Brunswick Street Gallery","offers":[{"title":"Default Title","offer_id":52893281255722,"sku":null,"price":850.0,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0678\/0374\/2506\/files\/Balwaldja_5569-25.jpg?v=1791518894"}],"url":"https:\/\/brunswickstreetgallery.com.au\/collections\/buku-nganapurrunggu-walumalaynha-our-seasons-our-time.oembed?page=2","provider":"Brunswick Street Gallery","version":"1.0","type":"link"}