Images(3)

Dhinimbu (Spanish Mackerel)

Date2018

Object number00055923

NameFish carving

MediumEarth pigments on native hibiscus

DimensionsOverall: 200 × 800 × 70 mm

ClassificationsArt

Credit LineAustralian National Maritime Museum Collection

Collections

Guykuḏas Aquarium

Terms

DescriptionCarved wooden sculpture by Guykuḏa Munuŋgurr of Dhinimbu, Spanish Mackerel Scomberomorus munroi, a Yirritja being. Although non-sacred in this representation, it is referred to in the Yirritja songs. HistoryGuykuḏa Munuŋgurr is the only full time artist at his Homeland of Garrthalala (Caledon Bay). He has distinguished himself as a completely innovative sculptor who pioneers new materials and techniques. One of the themes that he has pursued is the natural representation of animal species without reference to their sacred identity. This is one such work. However for stricter adherents of Yolŋu law the naturalistic representation of totemic species is a sacrilege. Despite his protestations of innocence in representing figurative sculpture of crocodiles (which are related to his mother's clans respectively) he was counselled away from this approach. In Yolŋu law Rangga or sacred objects are never revealed and their shape can only be guessed at. It is assumed that it was the similarity of these manifestations of totems with such Rangga which caused elders to veto his naturalistic representations of species. He specifically disavows any sacredness for these works. They are 'just art' or 'just for fun'. An area where he has been able to play with form and not attract negative attention is in his representations of fish. This work is part of a series begun in 2018. As a Homeland resident living on the coast of a vibrant sea estate which includes estuaries and coral reefs, big rivers and ocean he feeds himself and his family with his knowledge of the land. This familiarity allows him to shape these sculptures from memory not from images or life. SignificanceGuykuḏa Munuŋgurr's mother is a member of the Gumatj clan and their identity is linked to Bäru (Saltwater Crocodile). His mother belongs to a particular subgroup the Yarrwidi with a surname of Mununggurritj. The differences between the sections of the clan are differences of origin and law and are reflected in different songs, paintings, places and in post-missionary time’s different surnames. Whilst people with the surnames Yunupiŋu, Munuŋgurritj and Burarrwaŋa all count themselves as Gumatj their distinct stories are part of their identity. The songs describe a conflict and resolution between the Yunupiqu group represented by the crocodile (Bäru) and the Munuŋgurritj group represented by the stingray (Gäŋalkmirri).

This sculptural form is free of any miny'tji or clan design and at first glance is just a crocodile form. But it adds to understanding to know that this animal is the artist's maternal grandmother. Bäru was sitting in the river at Birany Birany and thinking to himself "I'm sick and tired of sittng here in this hot place, I'm going to leave here and go to that lovely cool island Murrmurrqa. He went to that place which belonged to the Yarrwidi Gumatj and fought with them and the barb from the gaqalkmirri entered the flank of the baru symbolic of the dispute resolution ceremony Makarratha.. After the peace was settled between the two the Dhinimbu (Spanish Mackerel) jumped out of the water to see the colourful and beautiful clouds symbolising the peace between the disputants. Thereafter the groups stood in a Märi-Gutharra relationship with each other (an important bond in Yolŋu life between a child and its mother's mother's brothers always of the same moiety as each other and with important duties and rights as far as funeral and circumcision and other ceremonial law is concerned). Märi-Gutharra relationship at Mulmurruŋa. The relationship between the clan's is analagous to that between two individuals where and Yirritja (for example from the Yarrwidi Gumatj) man's Dhuwa mother will always have an Yirritja mother. The brothers and fathers of that Yirritja woman (who in this example would be from the Rrakpala Gumatj) are charged with managing the circumcision, initiation, arranged marriage and mortuary rites of such a person. Defending him in the face of accusation or attack and inculcating a knowledge of his grandmother clan's law, land and language (including sacred designs-as painted by numerous gutharra or grandchildren in this book). This is not to say that other clan relationships do not have importance and input to these rites but the Mari is referred to as 'the backbone'.

Guykuda explained that the big name for the area around Bridgland (Wakuwala) and Dudly (Gaywunydj) Islands is Garritjpi and that the dispute happened deep underwater in a place known as Wulanbuy and that theye are still there- their spirits. He explained that this is how Bäru got his tail from the spike of the Stingray. He said "We still dance this".