Seasons of the Kunwinjku
Background
Aboriginal Australians are the proud custodians of the world's oldest living art traditions. Their art is diverse and visually complex, covering a range of separate and distinct regional styles. Each style reflects colourful and vibrant elements of the artists' ecological, cultural and social environments. It is conservatively estimated that Aboriginal people have lived in Australia for 50 000 years. Theirs was a culture that did not build monuments, but expressed itself through the ephemeral arts of ceremonial performance that included: elaborate body painting and head dress, ground design, sand sculptures and wood carving. As a consequence, much of the past is not recoverable. Where the past does exist in material form, however, is in rock engravings and paintings, or as the genre is better known, rock art.
Through rock art one is able to glimpse something of the sheer brilliance of ancient traditions, aware that such achievements antedate by millennia the Palaeolithic rock paintings of Altamira and Lascaux in Europe. While a great deal of Aboriginal history has been lost, due not only to the elements, but also to the arrival of non-indigenous Australians - when Aboriginal people were dispossessed of their traditional lands - much has since been recovered. This recovery and redefinition of history has strongly manifested itself in the contemporary Aboriginal art movement over the past two decades.
Contemporary Art
The contemporary Aboriginal art movement began to take effect in the 1970s in urban, rural and traditionally oriented communities across Australia, encompassing the breadth of art forms. Indeed, Australia and the world have for the past two decades witnessed what can be described as an explosion of creative energy in Aboriginal arts. We have seen a period in which Aboriginal people have reclaimed their heritage, having for so long been dispossessed and denied access, not only to the material source of their cultural identity, but to the spirituality that for millennia had been at the core of their ancestors' beliefs and value systems. The artists' rediscoveries were, and still are, powerful experiences that underpin the portrayal of a far more accurate account of Australia's history, both pre-and post-European settlement.
Almost without exception, whether or not the artists have completed formal training, their art draws on Aboriginal experiences and Aboriginal histories. Most maintain a vigorous attachment to traditional influences. In combining these traditional influences with contemporary media, the artists demonstrate the strength, resilience, adaptability, and continuing vitality of Aboriginal art.
Art is central to traditionally oriented Aboriginal life and whether it is created for political, social, practical or educational purposes, it is characteristically connected to religious activity. Inherent in its complexities are intended ambiguities.
Each symbol or icon within an artwork can have a multitude of meanings. Each set of designs can be interpreted according to the ritual, social or political situation in which it is presented. It is the level of interpretation that is important, and this level of interpretation requires a deep ritual knowledge, which in turn distinguishes both the authority of the interpreter and that of the viewer. For example, ritually senior men and women will have access to a broad range of meanings of a particular image, and yet confine their account of the image to a level appropriate to their audience.
While the sanctity of sacred art continues to be maintained as an essential part of the traditions and customs of those communities that choose to live traditionally oriented lifestyles, some artists have in recent years made their artwork more commercially viable and accessible.
Kunwinjku Art
Seasons of the Kunwinjku demonstrates just how accessible some Aboriginal communities are prepared to make their art in the 1990s- without compromising their traditional beliefs and value systems. This collection is a superb survey of works from the Kunwinjku clans of West Arnhem Land, in the Northern Territory (see map). Many of the stories contained in the collection relate to the Dreamtime, the time of creation when ancestral beings journeyed across the land creating the people,animals, birds, reptiles, trees, rivers, floodplains and the escarpment.
The art of West Arnhem Land is very distinctive and includes paintings of animals and fish in x-ray style, illustrating the internal organs. The Kunwinjku also paint small, dynamic mimi figures and spirit ancestors such as Ngalyod, the rainbow serpent. The backgrounds to the paintings are usually monochrome, which until the 1970s were a wash of red ochre. In more recent times, white, yellow and black backgrounds have been used. Scientific evidence points to some Kunwinjku rock art being 23 000 years old. As such, it presents a pictorial encyclopaedia of Aboriginal art in the region. In the 1960s, bark - while certainly not new - became the preferred medium for artists in the Arnhem Land region. It can, however, be a fragile medium to work in and requires particular care in handling and storage. The thick, dense water-colour paper now used by the Kunwinjku artists is quite sturdy, and has a matt finish and textured surface not unlike that of bark. After preparing the paper and sketching an outline of the design, the artists mix and apply their ochres just as their ancestors have done for generations before. In telling their clans' ancestral stories, the Kunwinjku artists have cleverly adapted ancient artforms to modern formats: from rock, to bark, to paper.
The Kunwinjku Artists
The artists are members of a number of Kunwinjku clans. Their traditional "country" extends roughly from the East Alligator River, which marks the boundary between Kakadu National Park and Arnhem Land, to the Liverpool and Mann Rivers. Their homelands (communities) are situated between Gunbalanya (known formerly as Oenpelli) in the west, and Maningrida in the east.
While many Kunwinjku artists are involved in the contemporary art movement in West Arnhem Land, it is not possible to show all their paintings in this collection. We have on this occasion chosen 13 works by eight artists of extraordinary talent:
1. Tony Bangalang
c.1959
Namurrwan Clan
Fish Creek / Kunnanj and
Mikkinj
2. Thompson Yulidjirri
c.1930
Nadjalama Clan
Cumaderr / Gabari
Mamadawerre
3. Gabriel Maralngurra
c.1968
Nangalngbali Clan
Gumaderr / Gudjekbin
4. Lawrence Nganjmirra
c.1976
Nadjalama Clan
East of Gumaderr Marlwon
5. Danny Djorlom Nalorlman
c.1952
Naborn Clan
Liverpool River Marrkolidjban
6. Peter Nabarlambarl
c.1930
Nadjordi Clan
Mann River Kamarrkawan
7. Lofty Nabardayal
Nadjamerrek
c.1926
Namok Clan
Liverpool - Mann River /
Malkawo
8. Samuel Namundja
c.1965
Nagardbam Clan
East of Mann River Mankalod
The Seasons
The seasonal cycles of West Arnhem Land present dramatic contrasts, from the monsoon rains and electrical storms of the wet, to the stillness of parched and dusty earth in the dry. At other times the contrasts are more subtle. For the Kunwinjku people these contrasts and subtleties translate into six distinct seasons. This notion differs quite markedly from the commonly held view that the Australian tropics have just two seasons: the "wet" and the "dry".
For millennia, the Kunwinjku clans have lived according to the seasons, travelling throughout their country to where seasonal foods were abundant. The deep connection to their land, even today, keeps the people finely attuned not only to the elements, but to the flora and fauna around them. They know that when the pandanus fruits turn orange, the magpie geese arrive in their thousands to feed on tubers at the drying water holes. By responding to the seasons' nuances the people always know where foods are most abundant.
The six seasons of the Kunwinjku are:
Kudjewk (January to March). The monsoon season - a time of growth and renewal. North-west winds bring low monsoon clouds and there are long periods of torrential rain. The rivers become raging torrents and the plains flood. This is the nesting time for the saltwater crocodile, and the Kunwinjku people feast on their eggs.
Bangkerreng (April to May). The transition from wet to dry season. At the start of the season the winds come from an easterly direction, but towards the end they turn to freshening south-easterlies. The season brings with it the last of the fierce storms, the rains ease and the rivers subside. Fish are plentiful in the rivers and billabongs. It is a busy time for harvesting yams and other roots.
Yekke (June to July). The relatively cool weather of the dry season. The winds come from the south-east, bringing cold air from the southern winter. Nights are cool and the mornings misty. Seed-eating birds move south and kites become more numerous as they chase the insects and lizards in front of the seasons bushfires. The early fires stir the animals, marking the beginning of the hunting season.
Wurrkeng (August to September). The winds continue to blow from the south-east, however, the days grow hotter and the humidity rises once again. This is the season when soft white clouds appear on the horizon and drift across the sky. The bush bees are busy making honey from the many flowering plants.
Kurrung (October to November). The season of the "build-up" when both temperature and humidity can reach extremely unpleasant levels. The dark moisture-laden clouds roll across the sky, but rarely do they bring rain to ease the oppressive conditions. The fruit bats, or flying foxes, feast on the nectar of the flowering trees, and they in turn make for tasty eating by the Kunwinjku.
Kurnumeleng (December). The heat and humidity continue and the first heavy rains arrive, heralding the beginning of the wet. It is the season of spectacular electrical storms - loud thunder and dramatic lightning flashes light up the night sky. Many bush fruits such as wild plum and grape ripen.
The Photographs
The traditional country of the Kunwinjku people, West Arnhem Land, is a place of immeasurable richness. Its land forms, flora and fauna are among the most spectacular in the world. The escarpment and plateau, where much of the rock formation is over 1600 million years old, are scoured by gorges filled with lush tropical rainforests. The walls, caves and crevices of the escarpment contain the oldest surviving paintings in the world - some have been carbon dated at 23 000 years. Like all great art galleries, however, there is far too much to see at once. This can also be said of the rivers and billabongs, the floodplains, the woodlands, the coastal mud flats and mangrove swamps. Then there are the flora and fauna: it is estimated that within the region there are 1 000 species of plants, 50 mammals, 75 reptiles, 50 freshwater fish, 25 frogs and at least 280 species of birds.
The photographs in this collection capture vividly the colourful images of the landscapes and wildlife that constitute the magnificence of Kunwinjku country. We hope that all 13 photographs not only add to your enjoyment and appreciation of this superb collection of paintings, but help put into perspective the Seasons of the Kunwinjku.
Lofty Nabardayal
Nadjamerrek
Mimi hunter, rock wallabies and yam
76 x 56 cm ochre/gouache on paper
1993
This image is painted in the classic x-ray style depicting the internal organs of the animals. The mimi hunter is spearing a rock wallaby. The wallaby being speared is the male of the species nadjinem. His female companion is djukurre. The mimi has a spear thrower borndok, a pointed stone spear lawk, and a dilly bag kundjabarrk made from pandanus fibre. At the left of the painting is shown a bush yam manyong (manburre). In Kunwinjku mythology, mimi spirits live in the rocky country behind the Arnhem Land sandstone escarpment.
January Kudjewk
Thompson Yulidjirri
Brolga, whistle duck, leeches, frogs, tadpoles, white currant, green plum and yam
105 x 75 cm ochre/gouache on paper
1993
The monsoon kudjewk occurs in the first three months of the year. Kunwinjku people describe it as kadjaldjakdung- it just rains and rains. The wind comes from the north west, and although there are at times clear skies and intense heat, there are periods of grey clouds, overcast skies and cooler temperatures. The change provides great relief after the months of heat and humidity. Kadjaldjakdung is the nesting season for many animals and birds. It is the time to collect eggs wirlarrk, especially from birds which nest on the ground such as the brolga ngalkordow (on the left) and the whistle duck djilikuybi (lower right). Leeches baladj are shown in the lower left corner; the fruiting white currant manngalele is at the top right; the green plum mandudjmi to the left, and the yam barddjubarr appears below the currant.
February Kudjewk
Gabriel Maralngurra
Saltwater crocodile and nest, saratoga fish
76 x 56 cm ochre/gouache on paper
1993
The estuarine or saltwater crocodile kinga is common in the Oenpelli and Kakadu region. In early kudjewk the crocodile builds large nests djengkeh up to 1 metre high from grass, weeds and mud. Male and female share responsibility for the eggs wirlarrk in the nest. Aboriginal people collect the eggs for food. Fish djenj are an important part of the crocodile's diet and the fish species illustrated is saratoga kuluybirr. Each year during kudjewk hundreds of young crocodiles hatch into an adverse environment with many predators such as birds (especially eagles), goannas and snakes.
March Kudjewk
Samuel Namundja
Magpie geese and eggs
75 x 105 cm ochre/gouache on paper
1993
At this time of the year, magpie geese are a familiar sight flying in the sky in v- configurations. Magpie geese manimunak and their eggs wirlarrk are an important source of food. In the past, geese were hunted with sticks but today they are hunted with rifles. The magpie geese are shown eating the seeds of lice grass dord (left), and the native grape mandjalkeh (at right). Many bush foods ripen including the bush plum mandjurrkkumarlba. Some yams, including karrbarda the long yam, manyuku and manwidu, are ready to be dug.
April Bangkerreng
Samuel Namundja
Brolga feeding chicks
105 x 75 cm ochre/gouache on paper
1993
Bangkerreng marks the transition from the wet season to the dry season. Fishing becomes possible as high water levels drop on the flood plains and in the rivers. There are still periods of strong winds and storms, and high temperatures and humidity. Then the rain ceases and the spear grass manbedje which has grown to heights of 2 to 3 metres during kudjewk now seeds (see photograph). The painting depicts a brolga feeding two brolga chicks which have emerged from the cracked eggs. The large crops on the mother and chicks indicate that there is an abundance of food at this time. The birds are eating the seeds of the black currant mandjulukunj.
May Bangkerreng
Tony Bangalang
Freshwater fish and turtles
56 x 76 cm ochre/gouache on pape
1993
The Kunwinjku people are from the fresh water areas of western Arnhem Land. The painting illustrates the range of food available during bangkerreng: barramundi narmarnkol (top right), long tom kurrkabal/kalerrh (middle), eel-tailed catfish namardaka (middle right), catfish manmakawarre (lower middle), and saratoga kuluybirr. Two species of turtle are shown, the long or snake-necked turtle ngalmangiyi, and the pig-nosed turtle warradjan. Illustrated in the painting are waterlilies mandem (bottom) and a plant mandjoleng.
June Yekke
Lawrence Nganjmirra
Brolga and kangaroo
105 x 75 cm ochre/gouache on paper
1993
Yekke is the cold weather time. The winds are from the south east and bring the cold air from the southern winter. There are clear skies and only occasional showers. Bush foods are still abundant after the rains, and animals are in good condition. Yekke is an excellent time to hunt kangaroos as they often nap during the cool afternoons. The artist has painted a female red kangaroo karndayh eating berries mandjaburldjaburl and a brolga ngalkordow eating red berries mandjodmong.
July Yekke
Thompson Yulidjirri
Fish trap and barramundi
75 x 105 cm ochre/gouache on paper
1993
During yekke, fishing continues to be good in the rivers and waterholes. Traditionally fish were caught with traps mandjabu, spears mankole, or a special pronged fishing spear djalakiradj. Illustrated in the painting is a fish trap mandjabu. Fish traps can be up to three metres long and are made from sticks tied with the creeper badidi. The traps are placed in running fresh water and left for a night or two. Also ready at this time is bush sugar cane mayadja or djilidjilih, which yeilds a sweet syrup used in place of water. The wet season growth is now dry and ready for" burning off" to regenerate the vegetation.
August Wurrkeng
Danny Djorlom
Kangaroo licking its tail
76 x 56 cm ochre/gouache on paper
1993
In wurrkeng, the cool nights have finished but the days are still mild. It is a time when the red kangaroos are fat, and the stringy bark mankod and paperbark trees manborroko flower"Burning off" continues, sometimes posing a threat to both people and animals. The painting shows a male kangaroo kolobbarr licking its tail after it was singed by burning grass. Also shown are four plants plentiful in wurrkeng: yam barddjubarr (middle left), green plum mandudjmi (between kangaroo and tail), palm mankulurrudj (right), and grass mankorlh (left) whose roots are eaten by kangaroos.
September Wurrkeng
Thompson Yulidjirri
Ngurdyawok
56 x 76 cm ochre/gouache on paper
1992
In wurrkeng, the bush bees are making honey mankung from the many flowering plants and trees. The making of bush fires continues for both "burning off" and hunting, and will continue until the first rains. Ngurdyawok, the figure on the left of the painting, was caught sleeping with his sisters who were married to his brother-in-law. The brother-in- law became angry and killed Ngurdyawok by cutting off his head with a stone axe. The log used as a chopping block is painted with dots to indicate it is full of honey mankung. The numerous dilly bags burlbbe, made from woven pandanus fibre and used to collect honey, are part of the Ngurdyawok story. The dreaming site called Mangardubu is in the Coopers Creek area north of Oenpelli.
October Kurrung
Tony Bangalang
Fruit bats and Oenpelli python
56 x 76 cm ochre/gouache on paper
1993
Kurrung is the hot "build up" season when both temperature and humidity increase. It is cloudier, but with little rain. Fruit bats or flying foxes kuluban feast on the nectar of the flowering trees, and the air is often filled with the scent of blossoms. The Oenpelli python nawaran feeds on the fruit bats, possums and small wallabies. The Kunwinjku enjoy eating Oenpelli python kuluban despite their distinctive odour.
November Kurrung
Lofty Nabardayal
Nadjamerrek
Emus
56 x 76 cm ochre/gouache on paper
1993
The skies are cloudy and rain seems imminent, but the earth is dry. The artist has painted Narderr, a spirit who used to be a man, stalking two emus while hiding behind a bush. He is using a stone- tipped spear lawk and spear thrower borndok. Narderr lives in the sky and comes down to earth when humans do witchcraft. The emus ngurrudu or kurdukadji are eating fruit like custard apples makolkol. The female emu lays the eggs, and the male now takes over to incubate and raise the chicks until they are independent.
December Kurnumeleng
Peter Nabarlambarl
Namarrkon, The Lightning Spirit
76 x 56 cm ochre/gouache on paper
1993
In kurnumeleng, the heat and humidity continue, but the first rains arrive. There are spectacular electrical storms. The Lightning Spirit Namarrkon is an important figure in Kunwinjku mythology. There are important Namarrkon sites in both western Arnhem Land and Kakadu National Park. In paintings Namarrkon is always surrounded by a circle of lightning and has stone axes attached to his joints. When lightning strikes and thunder sounds, it is Namarrkon wielding his stone axes. The clever men marrkidjbu have the power to make the lightning man strike whatever they want.
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