165:¤== Madarrpa clan == The Madarrpa clan is a clan in the Yirritja moiety. The clan was connected to the Gumatj and Munyuku clans by Bäru, the ancestral crocodile. According the ceremonial beliefs of some Aboriginals from Arnhem land, Bäru connected the clans when he created fire for the first time it across the water. As mentioned above, Djambawa Marawili is a senior leader in the clan who is heavily involved in clan ceremonies. Along with Bäru, Mundukul (Burrut'ji), the ancestral lightning snake is a significant symbol during ceremonies. Another motif seen throughout Madarrpa ceremonies is elliptical sand structure (yinyapunapu). As a Madarrpa elder, by kinship, Djambawa has the rights to paint the sacred design of the Madarrpa clan, his märi. The association of märi-gutharra asserts custodianship of sacred knowledge belonging to the daughter’s daughter’s clan, serving as a safeguard for ancestral knowledge. Djambawa Marawili certainly reciprocates the respect he gets from his clan. Djambawa Marawili's dad, Wakuthi Marawili, changed his son's name to Djambawa only when he was confident that his son "had the knowledge...had the wisdom" necessary for such an honorable name.
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Yathikpa ancestral story of the bay where Bäru, the crocodile, transformed himself from a human to animal form, plunging into the water in a blaze of flames. He has also shown stories such as the Burrit'tji and the rainbow lightning serpent. Marawili is passionate about painting the designs and patterns of his land and country. The patterns he uses in his paintings, which were taught to him by his father and are usually carried down ancestrally, are supposed to represent the country and the area where these stories come from. He paints the place where the Yolngu people know. With works that capture both innovation and tradition, Marawili has become one of the most significant artists from the Yolngu community. Because his works capture tradition and historical meanings, the paintings of
Marawili are also used as a source of history and records, especially in the legal battle to protect the right of the Yolngu land.
223:. The show featured eighty works by Yolngu artists depicting their ancestral clan designs, in response to the failed legal cases and harmful treatment of Blue Mud Bay by poachers and trespassers. The show began with an incident from October 1996, when Wäka Munungurr discovered illegal barramundi fishing while inspecting the sacred place of Garranali. Wäka Munungurr reported it to Djambawa Marawili, who decided to channel his disgust and frustration about the invasion of the sacred place by painting the sacred clan designs of the area and leading the other elders and artists in the region to follow suit. Djambawa Marawili spearheaded the show and continued to create works as visual assertions of Yolngu rights to the sea.
281:“It's really important to represent our clan groups and our tribes. Sharing the knowledge of this country. The art is still alive. The songs are still alive. The language is still alive. The connections are still alive. I reach out to other cities across the sea…I felt that I had to carry this. Even in my soul, even in my mind have to carry this and reach out to the other world. It is really important for me I have to be really confident with my own patterns and designs. I think it is really written in my soul and it is written in my blood.” (Djambawa Marawili)
293:, Marawili portrays a fusion of Aboriginal culture and artistic motifs with symbols of the European world like the Statue of Liberty. The Statue of Liberty is painted at the very top of the bark. However, the main subject of the painting is a depiction of Bäru, the ancestral crocodile, which spans the majority of the bark surface. On the back of Bäru and throughout the rest of the painting, Djambawa Marawili portrays the chained diamond design which is common throughout the
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sacred crocodile totem, Baru. In response to this violation, forty-seven Yolŋu artists representing fifteen clans and eighteen homeland communities in North-East Arnhem Land came together to share their cultural wisdom and deep connection to the land and sea. They expressed these profound ties through elaborate patterns and designs known as Miny'tji, creating a remarkable series of paintings now known as the 'Saltwater
Collection'.
158:, Marawili ensures the spiritual well-being of his people including members from other clans. Along with knowing his own clan's language, designs, and stories, he also is educated on the other clan's. Acting as an activist and administrator, Marawili serves to connect the Yolngu people and non-Aboriginal people, bringing awareness to the Aboriginal people and serving as a bridge between the two groups.
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culture and of the west which he used to connect the two worlds. Marawili also holds the belief that the government should not be able to tell him what to do because he can learn from them, but they can also learn from him as well. His art is also tied closely to his activism because of the connection between the artistic patterns he painted and the land and sea. This is also portrayed in the
117:. Although he had another name at birth, his father chose the name Djambawa just before he died, a powerful name meaning "the source of the fire on the rock in the sea", and another name, Bumbi, meaning "the rock of the fire". His father taught him how to sing, telling him never to forget to do it, and he taught him about the land and his country.
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art work as well and attended the federal court hearing in
Canberra. The court ended up not ruling in the Yolngu people's favour and they were not granted the rights to their land. However, they appealed the decision in 2008 the Yolngu people gained legal ownership to the intertidal zone, between high and low tide marks.
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moiety's art and culture. Bäru is known for creating fire and sending it across the water to different clans (See
Madarrpa Clan section). Marawili's mastery is demonstrated through his ability to create a sense of movement in this two-dimensional, static piece of art. In the bottom left corner of the
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which is east of Blue Mud Bay. This was very concerning for
Marawili and he worries about the absence of work opportunities for the Yolngu people, the decline in education, and the increase in health problems. His main desires for his community are for them to have better education so that people are
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The land has everything it needs. But it couldn’t speak. It couldn’t express itself. Tell its identity. And so it grew a tongue. That is the Yolngu. That is me. We are the tongue of the land. Grown by the land so it can sing who it is. We exist so we can paint the land. That’s our job. Paint and sing
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A large political problem facing the area was the bauxite and manganese mines being built so close to
Aboriginal land. Nhulunbuy, the large bauxite mine, is only 100 meters from Lawnhapuy Homelands and about three hours from Blue Mud Bay, where Marawili lives. Along with the manganese mines located
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Marawili is passionate about the socio-political rights of his people and their land. He believes it is important for him to do this because while the land and sea cannot talk, he can, and he must use this platform. As his father died, he told him that he was happy he had the knowledge, both of his
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in 2005. When John
Mawurndjal appeared on Time magazine, he, in many ways, introduced Aboriginal and Arnehm Land art to the global art scene. Djambawa's relationship with the University of Virginia and the greater Charlottesville area is a microcosm of the connection between Aboriginal Art and the
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His saltwater bark paintings were used as a campaign to educate people about the Yolngu people and their sacred land. This campaign was taken further and the Yolngu people began to initiate a court case in order to get recognition to their own land. Marawili contributed to this collection with his
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in his works, which was an innovative change in the Yolngu art tradition. Although
Marawili is an innovative Aboriginal artist, he does paint most frequently using traditional ochre, a natural pigment, and a paintbrush made using a small piece of hair tied to a stick. His works also often show the
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Djambawa
Marawili emphasized that Yolŋgu art is a reflection of their essence and intellect. He highlights the intricate cultural and political dimensions inherent in his bark artworks. When considering the response to the exhibition of barks in the USA, he praised the American recognition of the
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In 1997, Djambawa
Marawili AM, the leader of the Madarrpa clan, made a significant discovery on his land: an illegal poacher's camp with a decapitated crocodile. This incident took place in the very heart of the Madarrpa's revered territory, which is considered the mythical nesting site of their
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In October 2016, Djambawa Marawili worked as a resident artist at the University of Virginia. Marawili was glad to see popularity of Aboriginal art in United States, as Charlottesville is one of America's hotspots for Aboriginal Art.
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Marawili's painting style honors aspects of traditional bark painting while also embracing new methods that provide his works with a flowing sensation. Marawili incorporates the diamond pattern, traditional to the Yirritja
273:. Djambawa Marawili has spearheaded the effort of Yolngu people and artists in making connections with the United States art realm, as seen through his history with the University of Virginia. Marawili spoke to what
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This piece is painted on an enormous slab of eucalyptus bark measuring 270 x 100 cm. In accordance with most of his other art, he uses natural ochres for colour. The piece, which was commissioned for the 2017–19
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For Yolngu Indigenous people, he is the Djirrikay - the equivalent of an Archbishop, Chancellor or Premier for Yolngu clans. Marawili draws on his expertise in Yolngu law and culture to lead across many domains.
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timeless essence of ancient Yolŋgu culture and symbols, along with their connection to the land. He also appreciated how Yolŋgu art serves as a conduit for passing down traditional knowledge to America.
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community who is acknowledged as a leader due to her great knowledge of the Dhuji-Djapu clan, and her father is Dhakiyarr Wirrpanda, a Yolngu leader. She is also an artist, painting on bark,
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His paintings that portray sacred traditional designs demonstrate the right and purpose to speak for and protect their sea and land. Because of this reason, this portrayal shown in the
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better able to get jobs and, in turn, he also wants a stronger economic base. Marawili has continued to work hard within his community and outside of it to help his community prosper.
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Outside of his life as an artist, Marawili has served in many leadership roles to support and bring an awareness to the Indigenous community. Roles have included:
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Madayin Commission in Charlottesville, VA, was a personal assessment of Djambawa's crucial contribution to the creation of the University's exhibition,
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into virtually all of his works but arranges the diamonds in a pattern that emits a flowing sensation to the view and tells a story through the work.
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and dance. So it can feel good to express its true identity. Without us it cannot talk. But it is still there. Only silent. — Djambawa Marawili AM
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Marawili has won numerous awards with his significant paintings. These include the National Aboriginal and Torres Strait Islander Art Award (
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Walsh, Meaghan (2019). "The Politics of Painting and the Painting of Politics: Indigenous Australians Battle for Land Rights".
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1295:. Charlottesville, VA: Kluge-Ruhe Aboriginal Art Collection of the University of Virginia. pp. 54–64.
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151:. In the Madarrpa clan of the Yolngu, Marawili is a senior leader, facilitating and leading ceremonies.
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2053:"'Virtuosic' Yolngu Leader Wins Top Prize at National Aboriginal and Torres Strait Islander Art Awards"
351:". The album contains 14 songs and runs one hour and 19 minutes in length. The songs are listed below
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975:"The University of Melbourne (via Public) / University of Melbourne confers six honorary doctorates"
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1270:. Neutral Bay, N.S.W: Buku-Larrngay Mulka Centre in association with Jennifer Isaacs Pub. 1999.
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printmaking students to create new work. Two of Marawili's pieces now reside permanently in the
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for which we won first prize at the National Aboriginal and Torres Strait Islander Art Awards
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2011:. Buku-Larrnggay Mulka Centre in Association with Jennifer Isaacs Publishing Pty Ltd, 2014.
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1031:. Neutral Bay: Buku-Larrngay Mulka Centre in association with Jennifer Isaacs Publishing.
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corporateName=National Museum of Australia; address=Lawson Crescent, Acton Peninsula.
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with their children. Wirrpanda is also an artist herself, exhibiting with her mother,
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Marawili's mother by kinship, artist Mulkun Wirrpanda was one of the few women in the
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Saltwater: Yirrkala Bark Paintings of Sea Country: Recognising Indigenous Sea Rights
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Saltwater: Yirrkala bark paintings of sea country: recognising indigenous sea rights
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Saltwater: Yirrkala bark paintings of sea country: recognising indigenous sea rights
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1116:"Visual arts review: Nonggirrnga Marawili, the dynamic impact of a quiet custodian"
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Marawili's work is represented in the following galleries and other institutions:
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students had the opportunity to witness and learn from his experience with the
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Saltwater: Paintings of Sea Country: the Recognition of Indigenous Sea Rights
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2018:. Buku-Larrngay Mulka Centre in Association with Jennifer Isaacs Pub., 1999.
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Beyond Dreamings: The Rise of Indigenous Australian Art in the United States
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925:"Where the water moves, where it rests: Djambawa Marawili AM: Change agent"
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Madayin: Eight Decades of Aboriginal Bark Painting from Yirrkala, Australia
330:. Djambawa Marawili's residency at Charlottesville was reminiscent of when
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Festival of Contemporary Aboriginal and Torres Strait Islander Art at the
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In the early 1980s, Marawili began painting, incorporating the idea of
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Marawili notes how his tangible connection with the ancestors of the
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1775:"National Congress wants to work with PM's new advisory council..."
1743:"First Meeting of the Prime Minister's Indigenous Advisory Council"
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has inspired him to share their brilliance with other cultures. In
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Among Djambawa Marawili's most notable artworks is his 2019 piece,
1076:"National Museum of Australia - Meaning in Yolngu bark paintings"
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Marawili is the husband of Liawaday Wirrpanda, and they live in
1318:"Gapu-Monuk "" Saltwater Barks » Aboriginal Art Directory"
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Isaac, Jannifer; Buku-Larrnggay Mulka Art Centre, eds. (1999).
479:, Aboriginal and Torres Strait Islander Arts Fellowship (2003)
2037:“Djambawa Marawili AM: Where the Water Moves, Where It Rests”
1812:"Indigenous Advisory Council 'refreshed' with new membership"
1396:"Djambawa Marawili AM: where the water moves, where it rests"
1148:"Djambawa Marawili AM: where the water moves, where it rests"
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of Australia. He is the son of Wakuthi Marawili, and artist
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Laynhupuy Homelands Committee Chairperson (1995-1997, 2018)
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89:. He is also a musician, and released an album in 2008.
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Aboriginal and Torres Strait Islander Board (2008-2009)
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where Marawili arranged for the Sea Right claim to the
1841:"Djambawa Marawili Wins Prestigious Telstra Art Award"
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In 2008, Djambawa Marawili released an album titled "
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at Kluge-Ruhe Aboriginal Art Collection (2015-2016)
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608:Saltwater: Yirrkala Bark Paintings of Sear Country
186:Saltwater: Yirrkala Bark Paintings of Sea Country
420:(1994-2000, 2016-2018), board member (2001-2016)
1199:"Indigenous Agency in Australian Bark Painting"
512:from 2021, the first significant collection of
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468:) first in 1996, and then again in 2019 with
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1748:Department of the Prime Minister and Cabinet
1099:: CS1 maint: multiple names: authors list (
453:Prime Minister's Indigenous Advisory Council
221:Saltwater: Yirrkala Paintings of Sea Country
188:exhibition played a significant role in the
2046:Djambawa Marawili: Source of Fire 2003-2005
1911:"Maḏarrpa Miny'tji | Maḏarrpa Clan Designs"
322:During his residency, he collaborated with
175:buwuyak, which means faintness or emergence
1886:"Americalili Marrtji | Journey to America"
1371:"Americalili Marrtji | Journey to America"
883:(4). Centre for Independent Studies: 42–46
626:Asia Pacific Triennial of Contemporary Art
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672:in Art Gallery of New South Wales (2015)
251:Journey to America (Americalili Marrtji)
1721:Wangupini (Cloud Rising from the North)
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394:Wangupini (Cloud Rising from the North)
1810:Karvelas, Patricia (8 February 2017).
1698:Nhinamarrtji (Sitting Under the Shade)
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391:Nhinamarrtji (Sitting Under the Shade)
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1238:Moulton, Kimberley (20 August 2015).
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747:"Djambawa Marawili: Rock of the fire"
676:Where the Water Moves, Where it Rests
432:Nambara Homelands School Board Member
408:Arnhem Northern and Kimberley Artists
271:where the water moves, where it rests
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1959:"Lorr, 2015 by Djambawa Marawili AM"
1197:Geissler, Marie (7 September 2022).
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540:Kluge-Ruhe Aboriginal Art Collection
328:Kluge-Ruhe Aboriginal Art Collection
2094:Artists from the Northern Territory
1820:Australian Broadcasting Corporation
1652:Bunburrkthun (Walking to the Shade)
1316:Eccles, Jeremy (20 February 2018).
1240:"where water moves, where it rests"
1054:Djambawa Marawili: Rock of the fire
385:Bunburrkthun (Walking to the Shade)
349:Yilpara, The Mulka Manikay Archives
1114:McDonald, John (17 January 2019).
530:Kelvingrove Art Gallery and Museum
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2084:Members of the Order of Australia
1780:. 9 February 2017. Archived from
909:Design & Art Australia Online
784:Design & Art Australia Online
706:"Biography: Djambawa Marawili AM"
549:President of India Art Collection
654:Art Gallery of Western Australia
577:Northern Territory Supreme Court
565:Art Gallery of Western Australia
2099:20th-century Australian artists
1785:(Includes audio interview with
640:Art Gallery of New South Wales
583:Art Gallery of New South Wales
495:Art Gallery of South Australia
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2089:Indigenous Australian artists
777:Holder, Jo (29 August 2019).
622:in Annandale Galleries (2005)
553:National Gallery of Australia
132:, and she also has skills in
97:Marawili was born in 1953 in
2048:. Annandale Galleries, 2005.
870:"Life and death in Baniyala"
616:in Annandale Galleries(2003)
559:National Gallery of Victoria
441:YBE Enterprises Board Member
318:Blue Mud Bay sea rights case
191:Blue Mud Bay sea rights case
16:Aboriginal Australian artist
2005:Buku Larrnggay Mulka Centre
1422:Gapu Mungurru (Rough Waves)
953:Buku-Larrnggay Mulka Centre
923:Moulton, Kimberley (2015).
868:Warin, Jenness (May 2004).
444:Yipara-Laynhupuy Homelands
410:(ANKA) Chairperson (1998– )
355:Gapu Mungurru (Rough Waves)
55:Wakuthi Marawili (father),
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101:, also called Yilpara, in
1675:Gathiritj (Mangrove Bird)
1120:The Sydney Morning Herald
589:Holmes Ă Court Collection
388:Gathiritj (Mangrove Bird)
334:appeared on the cover of
300:Coat of Arms of Australia
1322:Aboriginal Art Directory
816:10.1211/pj.2019.20206908
804:"Tribute: Peter Hylands"
571:National Maritime Museum
482:General Division of the
451:Appointed member of the
1583:Walurngu (Frigate Bird)
1537:Barrakbarrak (Dotterel)
602:Significant exhibitions
376:Walurngu (Frigate Bird)
370:Barrakbarrak (Dotterel)
154:In addition to leading
2033:at Harvey Art Projects
936:University of Virginia
902:Sheehan, Emma (2017).
808:Pharmaceutical Journal
630:Queensland Art Gallery
595:Queensland Art Gallery
544:University of Virginia
429:Councillor (1995-1997)
324:University of Virginia
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85:, wood sculpture, and
1753:Australian Government
754:Creative Cowboy Films
664:Royal Academy of Arts
427:Northern Land Council
79:Aboriginal Australian
2030:Djambawa Marawili AM
2023:Djambawa Marawili AM
1216:10.3390/arts11050084
614:Buwayak-Invisibility
591:, Margaret River, WA
508:, scheduled to tour
414:Buku-Larrnggay Mulka
1915:Kluge-Ruhe: Madayin
1890:Kluge-Ruhe: Madayin
1865:Kluge-Ruhe: Madayin
1791:on 15 February 2017
1629:Lipalipa (Paddling)
1375:Kluge-Ruhe: Madayin
1343:"Yolŋu Sea Country"
1180:"Djambawa Marawili"
1007:Kluge-Ruhe: Madayin
957:"Djambawa Marawili"
779:"Mulkun Wirrapanda"
382:Lipalipa (Paddling)
258:Journey to America,
47:Liyawaday Wirrpanda
1964:Art Gallery of NSW
1560:Makani (Queenfish)
1247:www.kluge-ruhe.org
961:Sites & Trails
838:"Ms. M. Wirrpanda"
718:on 6 February 2021
484:Order of Australia
470:Journey to America
373:Makani (Queenfish)
291:Journey to America
275:Journey to America
107:Northern Territory
77:(born 1953) is an
1989:Djambawa Marawili
1755:. 5 December 2013
1277:978-0-646-37702-5
1038:978-0-646-37702-5
979:www.publicnow.com
636:One sun, one moon
504:Lead curator for
477:Australia Council
436:Australia Council
113:is his mother by
81:artist known for
70:Djambawa Marawili
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25:Djambawa Marawili
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2059:. 9 August 2019.
2014:Dettman, Carol.
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1939:"Source of fire"
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1514:Minyga (Garfish)
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1491:Baru (Crocodile)
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1468:Yirriwi (Dugong)
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711:. Archived from
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379:Djet (Sea Eagle)
367:Minyga (Garfish)
364:Baru (Crocodile)
361:Yirriwi (Dugong)
339:European world.
298:painting is the
111:Mulkun Wirrpanda
103:East Arnhem Land
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345:
332:John Mawurndjal
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243:Groote Eyelandt
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610:(1999-2001)
561:, Melbourne
521:Collections
489:Opened the
460:Recognition
399:Other roles
130:didgeridoos
87:printmaking
59:(mother by
2068:Categories
2041:Kluge-Ruhe
1825:6 February
1795:6 February
1759:6 February
1400:Kluge-Ruhe
1153:Kluge-Ruhe
1003:"Maḏarrpa"
683:References
597:, Brisbane
555:, Canberra
536:, Scotland
448:supervisor
267:Kluge–Ruhe
198:in 2004.
156:ceremonies
1861:"Origins"
1846:Limelight
1225:2076-0752
1209:(5): 84.
824:2053-6186
660:Australia
646:Larrakitj
491:Tarnanthi
306:Residency
93:Biography
52:Parent(s)
2057:ABC News
1816:ABC News
1327:27 April
1125:27 April
1095:cite web
1085:27 April
984:27 April
850:7 August
810:. 2019.
722:30 March
585:, Sydney
579:, Darwin
573:, Sydney
499:Adelaide
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295:Yirritja
214:Activism
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1895:3 March
1870:3 March
934:of the
887:20 June
567:, Perth
534:Glasgow
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313:UVA Law
138:weaving
134:carving
115:kinship
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656:(2009)
642:(2007)
501:(2019)
486:(2010)
206:moiety
169:Career
128:, and
122:Yolngu
44:Spouse
1970:7 May
1728:9 May
1705:9 May
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343:Music
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