David MALANGI DAYMIRRINGU, Dhamala Story Enlarge 1 /1

David MALANGI DAYMIRRINGU

Manharrngu people

Australia 1927 – 1999

Dhamala Story 1993 Description: "Union jack" type motif top right, catfish lower right, central vertical shaft of cross-hatching with black roundel
Place made: Yathalamarra, Central Arnhem Land, Northern Territory, Australia
Materials & Technique: paintings, bark paintings, natural earth pigments on eucalyptus bark

Dimensions: 180.0 h x 100.0 w cm
Acknowledgement: Purchased 1994
Accession No: NGA 94.226
Image rights: © David Malangi Daymirringu. Licensed by Viscopy

Dhamala is an important site on the west bank of the Glyde River where it opens out to the Arafura Sea. Here the Djang’kawu plunged their digging sticks into the earth to create Milmindjarrk, a small mangrove-fringed waterhole on the river’s edge. The ancestors hung their woven dilly bags containing the sacred law in a tree, while they searched for food, all manner of fish and shellfish.

In Dhamala story 1993, Malangi has painted a conceptualised version of this landscape, focusing on the Djang’kawu, rather than a direct map-like representation. The emblematic design of the Djang’kawu is the Union Jack-like icon at the top left: it consists of a central waterhole and radiating lines that indicate, simultaneously, the paths travelled by the ancestors, the rays of the rising sun and the weave of the conical mat that the ancestors used in giving birth to the Dhuwa clans. As such the Djang’kawu design is synonymous with the womb and the procreative powers of women.

At Dhamala the Djang’kawu changed their language to Manharrngu and gave the Manharrngu clan the colour black, a prominent and distinctive feature of Malangi’s paintings. In this painting the black defines waterholes, the digging sticks and the brackish waters at the mouth of the river.

Wally Caruana


Text © National Gallery of Australia, Canberra 2010
From: Franchesca Cubillo and Wally Caruana (eds) Aboriginal and Torres Strait Islander Art: collection highlights National Gallery of Australia, Canberra, 2010

I record the story about Dhämala.

It’s Dhämala named by Djan'kawu. Right. They start travel … two Djan'kawu, from sunrise to sunset … when they travel through the places, they name the places … give the ceremony, all the way, coming up. When they come to the other country, they change their language, change language and tribe. From there another country, change language, another tribe … once … they come to Dhämala … they start to walk around in this plain, and in this plain they named the areas.

Then they were gathering all the shells, long-bums (mussels) anything you can name it in the mangroves, what lives in the mangrove tree, in the saltwater, in the mangrove. Then, after that, the two Djan'kawu … start to cook, organise to cooking. While they cook, then they start cook all the long-bums, anything round, any long-bums … they start to change the language.

One … she talking Manharrngu language, another said ‘Hey, you’re talking another language … Let me help you for food, language’, and then they eat, they both talk Manharrngu language and they called themselves, ‘we are talking Manharrngu language in this country because we are Manharrngu and this Dhämala'.

Richard Birrinbirrin, 2002


Text © National Gallery of Australia, Canberra 2010
From: Anne Gray (ed), Australian art in the National Gallery of Australia, National Gallery of Australia, Canberra, 2002

戴维·马兰吉·德米林谷 (David MALANGI DAYMIRRINGU)
澳大利亚北领地中阿纳姆地
《达玛拉故事》(Dhamala Story)
1993年
绘画,树皮画,桉树皮,天然土性颜料
180.0(高) x 100.0(宽) 厘米
1994年购买
收录号:NGA 94.226
笔者记录了关于达玛拉的故事。

是的,是吉安卡乌(Djan'kawu)命名的达玛拉(Dhämala)。他们开始旅行……两个吉安卡乌人,日出而行,日落而歇……他们云游各地,并为所到之处命名……一路上给各地规定仪式,没有停歇。他们来到异地他乡,改变当地人的语言,改变语言和部落;然后继续前往另一国度,改变语言,另一部落……曾经……他们来到达玛拉……他们开始在这平原之地游历,并为各处命名。

然后,他们收集各种贝壳、贻贝以及红树林里任何能叫上名字的东西,红树上、海水里和红树林里生活的东西。再之后,两个吉安卡乌人……开始烹调,安排菜谱。烹调之时,他们开始烹制各种贻贝,任何圆形的东西,任何贻贝…他们开始改变语言。

一个人……她讲曼哈恩古语(Manharrngu),另一个人说‘嘿,你讲的是另一门语言……我来给你食物、语言方面的帮助’,然后他们进食,两个人都讲曼哈恩古语,他们相互呼喊,‘我们在这个地方讲曼哈恩古语,因为我们是曼哈恩古人,这个地方叫达玛拉’。

Richard Birrinbirrin, 2002
理查德·博林博林 2002年


Text © National Gallery of Australia, Canberra