LARRITJPIRA MUNUNGURR - DJAPU DESIGN (HOLLOW LOG)

LARRITJPIRA MUNUNGURR
DJAPU DESIGN (HOLLOW LOG),  2019
223 x 21 cm
ochres on Wood Sculpture
 
REGION
Yirrkala NE Arnhem Land, NT
 
PROVENANCE
Buku Larrngay Arts, NT
Cooee Art Leven, NSW 
 
STORY
The cross hatching grid pa􏰁ern is the sacred design for the freshwaters of the Djapu clan at their homeland Wandawuy now an outsta􏰀on about 150 kilometres south of Yirrkala and inland from Blue Mud Bay. 
This Djapu clan outsta􏰀on (and spiritual residence for Ancestral Beings Mäna the Shark and Bol’ŋu the Thunderman) is surrounded by permanent freshwater. Rains inspired by the ac􏰀ons of Bol’ŋu feed the rivers and fill the billabongs. Ca􏰃ish and mussels, freshwater crayfish and others feed the Yolŋu and wild life. The waters are home for the shark Mäna. 
The grid refers to the landscape of Wandawuy - a network of billabongs surrounded by ridges and high banks. Its structure also having reference at one level to woven fish traps. Ancestral Hunters who set a trap here are called Bärngbarng and Monu'a who came to cut the trees named Gu'uwu, Gathurrmakarr, Nyenyi, Rulwirrika and Gananyarra - all Dhuwa trees. They used straight young trees. And cut them with their axes called Gayma'arri, Bitjutju. 
Areas of the river are staked by the Yolŋu and branches interwoven through them. Then the water is polluted by a par􏰀cular pulped bark that anaesthe􏰀ses the Gaṉŋal that hobble to the surface. With nets constructed similarly to the the beak of Galumay the Pelican the Yolŋu wade through the waters scooping up the fish. It has been fished since Ancestral 􏰀mes. Gaṉŋal the ca􏰃ish, totem for the Djapu is ceremonially sung as is Galumay the pelican. Both these species frequent the waters of Wandawuy. 
Mäna the Ancestral Shark in its epic travels comes through this way. These ancestors try to trap Mäna in the freshwater by means of these traps in the waterways. They fail. The powers and physical strength of the Shark overcome the efforts of mere mortals. Mäna’s ire and thrashing tail smash the trap and muddy the water. They witness however the strength of Mäna and sing his ac􏰀ons, the thrashing of his tail for one, the muddying or contamina􏰀on of the water.
The grid lines having reference to the trap, the cross hatched squares referring to differing states of the freshwater - the source of Djapu soul. At ceremony appropriate par􏰀cipants for mortuary rites enter the shelter (woven together like the unsuccessful trap) where the deceased has been lying in state. Sacred spears 􏰀pped with s􏰀ngray barbs, ,manifesta􏰀ons of Mäna’s teeth, stand up alongside the shelter. The sacred song cycles of Mäna in the water at Wandawuy are intoned with music from the Yidaki (didjeridu) and Bilma (claps􏰀cks). At the prescribed 􏰀me at the conclusion of ceremony the dancers crash through the deceased’s shelter imita􏰀ng the ac􏰀ons of Mäna at the trap. This ac􏰀on has reference to the release of the deceased’s soul, back to the sacred waters of Wandawuy to be reunited with its ancestors awai􏰀ng rebirth.
Wandawuy literally means place of the Sharks head where in the larger context of the song cycles of Mana’s journey his head came to rest a􏰄er being butchered and distributed through the land.
 
 
ARTIST PROFILE
LARRITJPIRA MUNUNGURR