Bulurru Dagil-ndu “The people are strong, the spirit is strong, the creator is strong” 26 JUNE —— 4 SEPTEMBER 2021
N O R T H
Bulurru Dagil-ndu is the breakout exhibition that displays and contextualises the strong arts and cultural heritage that underpins one of Queensland’s newest Indigenous art centres.”
DJABUGAY ART CENTRE Calling to Country: Djirri nyurramba, Nganydji djabuganydji bama Nganydji buwal bugan gurragurra nganydjin-wu, Nganydji bandjarril gudjumbarray-ngun Nganydjin bulurru, nganydjin bidjarr, nganydjin yadjul galbal, nganydjin bulmba djada. Nganydji gudjumbarray-ngun-gu djumburru nyiwul bandjarri nganydjin gadjagadjarr. Interpretation: How you mob, We are Djabugay people We speak for our ancestors, We are here to follow them Through their story, their dreams, their bloodline, our country and to follow one track, for our old people.
Exhibition Overview: Djabugay “Lore” comes from Bulurru (Creator) sacred “Storywaters” (a sacred story/ place). These relate to the origin or creation stories of Bulmba (Country, homeland) of the Djabugay-speaking people. Bulurru “put” things in place, the “storywaters” showed bama (people) the way of life founded on an intimate knowledge of and respect for Bulmba (Country/ homeland). Bulurru with Gurra (ancestors) instituted the social regulations of marriage, enabling society to reproduce itself, the ‘Lore’ by which it was guided and the aesthetic by which that life was celebrated in art, song, and dance. Dagil-ndu, meaning strong in Djabugay ngirrma (language), is how Djabugay now project themselves, strengthened through a reconnection and continued relationship with Bulurru (Spirit) and Bulmba (Country).
Djabugay Cultural Curator: Dennis Hunter “Bada-djaygul” (Bush Man) Dennis Hunter is a proud Djabugay man, with a long history of cultural practice and performing arts. Formally a lead dancer at Tjapukai Cultural Park for over 20 years, his experience traverses contemporary music, traditional ngirrma (language) and cultural protocols, artefact making and cultural protocol leader. Cover Image and opposite page: courtesy of Djabugay Art Centre
He is one of the strongest Djabugay ngirrma speakers and
is passionate about preserving and teaching this ancient language. For this project, Dennis has led the cultural team in developing the works, making the objects, and directing the performances for video.
Djabugay Arts Centre Description: Djabugay Arts Centre is one of Queensland’s newest Indigenous arts centre’s, located at Nyuwarri Estate on the Kennedy Highway in Kuranda, Far North Queensland. In the heart of Djabugay Bulmba (Country). Djabugay Aboriginal Corporation is currently working towards physical renovation and redevelopment of an existing building located at the entrance of the estate. The Arts Centre will be the first phase of a broader masterplan for the Nyuwarri Estate property for Djabugay people. Djabugay artists create on a spectrum of contemporary and traditional styles – from handmade craft to fine artworks that celebrate, explore and reconnect with their unique style, motifs, stories and cultural practice. There is very strong, ongoing practice in traditional weaving, artefact making and painting, and emerging trends in fashion, jewellery-making and new media. Djabugay artists have for a number of years worked independently as Keeping Our Culture Alive (KOCA) collective, with fellow Kuranda artists. The KOCA group have previously participated in the CIAF marketplace, and the CIAF Fashion Parade.
BULURRU DAGIL-NDU
“The people are strong, the spirit is strong, the creator is strong” Gurra-bana, Gurra-minya
How our moiety system is established 2021, audio/ visual, courtesy of Djabugay Art Centre
Gurra-Gurra means ‘ancestors’ in Djabugay ngirrma (language) and ‘minya’ means ‘meat/ of the flesh’. According to Bulurru ‘storywaters’ Gurra-Minya clan’s people are associated with and belong to the ‘dry’ season and must marry someone from the opposite moiety the Gurra-Bana. Equally, the same ‘Lore’ is recognized by the clan’s people identifying as Gurra-Bana, ‘Bana’ meaning ‘water’ and Gurra-Bana meaning your ancestry belonging to the ‘wet’ season. “Nganydji nyumbu bandjarril, Nganydji Gurra-minya, Nganydji wambayingu Bandjil Dayal djada, Malim Gurra-bana.”
“If your father came from the ‘dry’ side, all your siblings had to follow your father’s line - you are all Gurra-minya. Gurra-minya must marry Gurra-bana - this is the ‘Lore’ that has been passed down from our Bulurru ancestors, who can marry who...” - Dennis Hunter (Gudji Bulurru-nggu) Gurra-bana, Gurra-minya include audio recording of Djabugay Elder Wurrmbul (Pelican) Gilpin Banning, recorded in 1985 in Redlynch by Helena Cassells. Gilpin has a strong relationship with the Redlynch area, and in this recording, he talks to the story places in the area. Gilpin Banning was a strong language speaker
and was instrumental in recording and preserving the Djabugay language. Gurra-bana, Gurra-minya also includes audio recording of Djabugay Elder Badadjaygul Gilpin Martin, singing three short versions of a song for corroboree, about the significance of Yellow Crested Cockatoo feathers. He was recorded by La Mont West and Hugh Clarke in 1965.
Bulmba Djugaying
Smoking of the house/ homeland 2021, audio/ visual, courtesy of Djabugay Art Centre
Planning approval for Djabugay Arts Centre was granted in late 2020: for the redevelopment of an existing brick residential building located at the entrance of Nyuwarri Estate. Djabugay Art Centre aims to reinvigorate cultural practices, enable Djabugay artists to develop personal and tribal practice, and promote this expression to the world. With planning approval in place, The Bulmba Djugaying ‘smoking’ was seen as a critical process in cleansing the country and
enabling this new space to succeed as a safe place, culturally. Led by Dennis Hunter, the Djumburru Nyiwul dancers were engaged to lead and initiate this unique creative development and cultural process. “Nganydji djugay gula-nggu, Nganydji munu galin. Nganydji djugay manydjarriny bulmba-nggu, Nganydji wawu galin djugay-djada bulmba-nggu. Dja: ngunda nganydji galina, Nganydji djugay nganydjin gula bulurru-m.”
“We would smoke ourselves before entering the country, when we leave, we would smoke ourselves again so that we weren’t attached to any spirits that could follow us back home. The reason why we smoke the house is to celebrate together on the new start of our new arts building to make way for the new, and to follow one track (Djumburru nyiwul)”. - Dennis Hunter (Gudji Bulurru-nggu)
Ocher Gurra-minya clan’s people are traditionally identified by the use of red and yellow ocher in ceremonial body decoration. The red and yellow ocher collected from dry country near rocky outcrop, and water catchment areas. Gurra-bana clans’ people are traditionally identified by the use of black charcoal and white clay in ceremonial body decoration.
“
Nganydji galin murrba
bana digarra djada, Waluu magarriny djigawarra-wu nganydji warrma djundang, wabarra-galin, gidjarri gundal”
“Our people dive into the
river and collect the clay from the cold water at the bottom of the riverbed and side of the river-bank”
White clay, charcoal, red ocher and yellow ocher all had medicinal properties, and were used for personal protection during hunting expeditions all of which have significant purpose and use in all facets of ceremonial and traditional life.
Djumburru Nyiwul Dancers: ‘To follow one track’ Ruby Nandy, Georgina Hobbler, William Riley, Floyd Riley, Andrew Duffin, Roderick Newbury
WATCH: GURRA-BANA, GURRA-MINYA WATCH: BULMBA DJUGAYING
NorthSite Contemporary Arts
Mirrimbal
Damarri’s Headress 2021, white cockatoo feathers, natural bee’s wax, courtesy of Djabugay Art Centre
northsite. org.au
The Mirrimbal (head-dress) is significant to the Djabugay and neighbouring nations, it is characterized by its distinctive circular shape and white cockatoo feathers. It’s design and origin is drawn from a significant Bulurru creation story about two “storywater” brothers named Guyala and Damarri, it is Damarri that is said to have worn the headdress of cockatoo feathers in these stories. It is made from native bee’s wax and white cockatoo feathers. Bee’s wax is softened so it can be attached to the back of the head during ceremonies such as warrma (corroborree).
“Djabugay Arts Centre and the Bulurru Dagil-ndu exhibition have received financial assistance from the Queensland Government through the Arts Queensland Backing Indigenous Arts initiative.” Djabugay Arts Centre wish to thank NorthSite Contemporary Arts and Cairns Indigenous Art Fair for their support in realising this exhibition. Djabugay Arts Centre acknowledge that the stories, language and objects on display are the shared cultural heritage of all Djabugay people. Djabugay and Tjapukai are different spelling representations of the same Traditional Owner nation. NorthSite Contemporary Arts is assisted by the Australian Government through the Australia Council, its arts funding and advisory body. NorthSite is supported by the Queensland Government through Arts Queensland.
Gunambala
Possum fur belt unknown year, possum and human hair, courtesy of Djabugay Art Centre On loan from Cairns Museum, Tjapukai Cultural Park Collection
In this exhibition, this Gunambala The belt was used as a pubic covering, and is made from human represents a deeper narrative about control of traditional culture. hair, mixed with possum fur, and then rolled thinly into locks. Some The fact that Djabugay traditional other belts were also made using only human hair and animal skins. owners have to ‘loan’ this object back, symbolizes the curious business model that was on This object is on loan from the display at Tjapukai Cultural Park. Cairns Museum (part of a small Tjapukai Cultural Park loan). In 2021, after some 33 years of A collection of objects were Tjapukai operating, Djabugay loaned to Cairns Museum traditional owners will finally following a redevelopment of own and run this enterprise the building in 2016. (Tjapukai NOW). Tjapukai was run by Indigenous Business Australia (not Djabugay traditional owners) and closed formally in January 2021.
https://northsite.org.au/exhibitions/bulurru-dagil-ndu-the-people-are-strong-the-spirit-is-strong-the-creator-is-strong/
Djilngarr
Men’s Headband 2021, nautilus shell, twine, courtesy of Djabugay Art Centre
Made for traditional ceremonial events - these traditional style men’s headbands are called Djilingar. The shell is thought to possess the “spirit” of GudjuGudju the rainbow serpent who transformed into Buda-dji (the carpet snake) who is said to have
moved across the land creating all the waterways of the Barron Gorge National Park. The use of nautilus shell speaks to Djabugay trade relations, and hunting expeditions in coastal areas across the north Queensland regions.
Djilngarr
Women’s Necklace 2021, nautilus shell, twine, courtesy of Djabugay Art Centre
Made for traditional ceremonial events such as marriage between clans – the women’s Djilngar (necklace) is made from nautilus shell, cut in small rectangular shaped pieces with rounded edges. The delicate pieces are then polished to reveal the pearl enamel, arranged in a pattern and secured with twine made from natural plant fibers such as Lomandra Grass or Black Palm.
WATCH: VIRTUAL EXHIBITION WALK THROUGH