David MALANGI DAYMIRRINGU | Two Water Goannas and fresh waterhole

Australia 1927 – 1999
Two Water Goannas and fresh waterhole
137.1984 Two vertical spotted goannas flank a central roundel and vertical cross-hatched band 1983
Bark Painting
natural pigments on eucalyptus bark
82.5 (h) x 41.5 (w) cm
Purchased 1984 Art Gallery of New South Wales, Sydney
© David Malangi. Licensed by VISCOPY, Australia

We shall walk along, Sister … making country …

Our heads are grey; we sway our hips as we walk …

Carefully, we leave the sacred basket within the shade …
Let us hang this shining basket upon the tree …
Yes we are walking along … making country …
With hips swaying.

What is that, Sister? Show me? I see a mangrove shell.

Come, pour them in here; put them as sacred, within the mat!
There I saw another of them!
Come, put them into the mouth of the sacred mat.
There is another mangrove shell! ... they are sacred to us!
Here is another Sister, a black periwinkle. Put it within, sacred to us!

The Djan'kawu song cycle — song 138

Berndt RM Djanggawul: An Aboriginal religious cult of North-Eastern Arnhem Land, New York: Philosophical Library, 1953, Song 138 , pp.230–231

Instead of seeking to tell the ‘whole story’ of the Djan'kawu in one picture plane or depict these Ancestors in human form (as could be read in the Gurrmirringu works of Mulanga country), Malangi told their story through traces of their existence.

To find a nonda [a long-bum mussel] in the mud is to find food collected, eaten and created by the Djan'kawu. More than this, the mussel is the essence and spirit of the Djan'kawu. To paint the nonda is to paint the Djan'kawu in a manifestation other than human form.

Painting the Djan'kawu represented both an expression of the everyday and an exploration of Yolngu religious knowledge.

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