Word: kuninjku
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Dates: during 2000-2009
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...signed until the floodwaters had receded from her remote community. "It's not only a cross-nation collaboration," says Perkins. "It's inter-cultural as well, and then also between the strands of architecture, curatorship and the arts." Not to mention language. English and French were easy compared to Kuninjku, Gumatj, Gija, Pitjantjatjara, Pintupi, Wiradjuri and Waanyi, all of which buttress this cross-cultural cathedral...
...Nothing features larger than Ngalyod, the creator and destroyer in Kuninjku culture, and the serpent's twists and turns empower the show. Even when not shown, Ngalyod's presence can be felt in the waterlilies and water holes that are believed to be manifestations of its journey. Ngalyod's appetite is thought to have forged the local landforms, and one gets a sense of this in Marralwanga's Ngalyod and Yawkyawk, 1983, in which the two creatures consume each other. Mawurndjul's brother Jimmy Njiminjuma pushed the concept even further in his large-scale serpents from the mid '80s, which...
...According to the local Kuninkjku, the mimih created the oldest of the rock art that adorns more than a thousand sites in this freshwater region just south of Maningrida. More recently, Kuninjku artists have transposed their mimih to bark, with results no less magical. Comprising nearly 300 works, "Crossing Country: The Alchemy of Western Arnhem Land Art" documents the journey from one of the world's oldest art traditions to one of the newest. It's a landmark show in every...
...should have begun in and around Maningrida, "the place where the Dreaming changed shape." Less than 150 km west, at Oenpelli/Kunbarlanja, in 1912, anthropologist Baldwin Spencer first encouraged Aborigines to put their rock designs on bark in exchange for tobacco. It would be a further 50 years before the Kuninjku language group began to gather at Maningrida settlement. Here a young John Mawurndjul was treated for leprosy, and in 1963, with the Maningrida Social Club, a fledgling art industry began. But the deeply traditional Kuninjku were never happily confined here. As curator Perkins showed so thrillingly in her 2000 Papunya...
...What electrifies this artistic forest is the use of rarrk. This distinctive cross-hatching is tartan for the Kuninjku clan. It varies from the rougher markings of former rock painter Lofty Bardayal Nadjamerrek to the increasingly refined rarrk of Mawurndjul, who paints shimmering spiderwebs of yellow, black and red. The technique began with Yirawala (1903-1976), who in the '60s first transposed men's ceremonial body designs to bark. The elaborate cross-hatching also relates to the weaving of the giant barramundi fish traps, mandjabu...
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