Laindjung, The Ancestral hunter and the Barama Design

This bark painting relates to the ancestral beings, Barama and Laindjung, the instigators of religious ritual and doctrine for the Yirritja moiety.   Everything in the Yolŋu belief system, is made up of two moieties, the Yirritja and the  Dhuwa moieties.

The painting depicts an aspect of the myth cycle of Barama and Laindjung coming to Arnhem Land.  Laindjung emerged from the water. His body was covered with watermarks.  These watermarks formed patterns that were eventually allocated to varies Yirritja moiety linguistic groups and clans. They also became a rangga or totemic emblem .

There are two freshwater tortoises with their heads resting on the log.  These are also totems or rangga. They  are represented in this painting by the regular diamond pattern which symbolizes them moving through the weeds in the river. The lines running under the arms of Laindjung, represent the sea grass swaying in the water as the tortoises swim past. The pattern with the oval shapes to the left and right side of the figure, are the sacred design that was on the thighs of Barama as he also emerged from the water.  It represents pools of salt water trapped in holes after the receding tide.   The freshwater crayfish were also one of Barama and Laindjung’s favorite foods

Gawirrin Gumana, also known as Gawurin, Gouarin, Gawarrin, Gawirrin, Garwirin, Gawerin,

Gawirrin’s works are in the:

National Gallery of Victoria

National Gallery of Australia

National Museum of Australia

Australian National Maritime Museum

British Museum

Kluge Ruhe Aboriginlal Art Collection USA