Explanation of imagery used by Wukun Wanambi

Wawurritjpal – Fish imagery

 

In sacred song, Bamurrungu, a sacred and solitary rock in the mouth of Trial Bay, lies submerged within its waters surrounded by these fish; Buku-Dunggulmirri or Wawurritjpal, Sea Mullet.

 

The waters of Gurka'wuy River flow out through Trial Bay past this rock conflicting and clashing in a turbulent unity with the incoming tidal waters from the deep ocean.

 

The fish depicted jump the 'trap' created by the rock in the same way that the soul slips its earthly bonds. According to the artist these were once people of the stone country behind where the Marrakulu have now settled close to the mouth of the Gurka'wuy River.

 

Yolngu of this area speak of a hole submerged under the rock, from where bubbles are seen rising to the surface, sometimes bursting forth with a rush. The bubbles are seen as a life force and a direct Ancestral connection for the Marrakulu.

 

When the Marrakulu perform ritual dance for the events depicted in this painting participants move towards a held spear representing the steadfastness of the rock, splitting the dancers who then surround Bamurrungu moving as does the sea to song and rhythm of Yidaki and Bilma.

 

Bamurrungu is a spiritual focus for an alliance of clans who share identity connected with the felling of the Stringybark tree by ancestral being Wuyal.

 

Wuyal, the Ancestral Sugerbag Man, while in Marrakulu clan country cut the sacred Wanambi (hollowed Stringybark   tree) looking for native honey. One such tree was hollow, its falling path gouging the course for the Gurka'wuy River that has flowed ever since into Trial Bay. The Marrakulu sing these events (with other clans) during ceremony associated with the Wawalak myth. In other clan's lands these actions were repeated.

These groups dance songs of honey flowing like rivers of freshwater from fonts deep in the saltwater under the rock. The rivers belonging to these clans; the Marrakulu, Golumala, Marrangu and Wawilak flow (spiritually) towards this rock.

 

Gapu - Water currents imagery

 

This water originates from the stony country behind where the Marrakulu have now settled, close to the mouth of the Gurka'wuy River. This is country that is associated with the sacred and totemic Gadayka, stringy bark tree, native bees and wild honey and the freshwater that runs through the rocks to the river. The river empties into Trial Bay at Gurka'wuy washing through sacred mangrove roots.   The essence of freshwater mixing with the salt, taken out by the tide to special foundations of law, becoming saltwater or the feminine to return back to the mainland shores to meet with the masculine. This symbolism of fertility, the mixing of waters is generic for the Yolngu, the ebb and flow of tide often the beginning and end of ritual song cycles. This Marrakulu clan water then mixes with Balamumu water of the Djapu clan grandmother and is imbued with the sanctity of these monoliths. That is the design shown here.

 

The artist describes the flow of the work as showing the Dhapuyngu element of the waters known as Gudultja. Gudultja is the deep ocean Dhuwa moiety waters combining the essence of Marrakulu, Dhapuyngu, Djapu waters in a måri/gutharra relationship (maternal grandmother/daughter).

He says that a white topped rock Bamurrungu 'cuts' the water and only Marrakulu water flows into the bay of Gurka'wuy (Trial Bay).

 

Bamurrungu is set in a field of   turbulent and agitating waters created by particular tide and wind. The waters of Gurkawuy River flow out through Trial Bay past this rock conflicting and clashing in a turbulent unity with the incoming tidal waters from the deep ocean.

 

In the songs, Mullet jump the 'trap' created by the rock in the same way that the soul slips its earthly bonds. According to the artist these were once people of the stone country behind where the Marrakulu have now settled close the mouth of the Gurka'wuy River.

 

Yolngu of this area speak of a hole submerged under the rock, from where bubbles are seen rising to the surface, sometimes bursting forth with a rush. The bubbles are seen as a life force and a direct Ancestral connection for the Marrakulu.

 

When the Marrakulu perform ritual dance for the events depicted in this painting participants move towards a held spear representing the steadfastness of the rock, splitting the dancers who then surround Bamurrungu moving as does the sea to song and rhythm of Yidaki and Bilma.