De term Gurrmirringu wordt gebruikt voor het eerste volk van de Manharrngu clan en voor een bepaalde Voorouder, een machtige krijger, jager en man van de wet. Hij maakte lange reizen naar Ngorunyuwa en Mulanga, de oostelijke oever van de Glyde rivier, al jagend en voedsel verzamelend, witte bosbessen en yams. Toen hij naar het noorden keek, zag hij de rook van de kampvuren van het voor de kust gelegen Crocodile eiland. Hij gooide een speer die in een rots veranderde net voorbij de monding van de rivier. Er wordt wel verteld dat deze rots Gurrmirringu zelf is. Een ander verhaal zegt dat hij is gestorven door de beet van de King Brown Snake, bruine koningsslang. Gurrmirringu is verbonden met de King Brown Snake, de Death Adder en de witte bosbessen en yams die hij verzamelde. <BR> David Malangi heeft het verhaal van Gurrmirringu een aantal keren geschilderd. Het thema refereert ook aan de rouw ceremonies van de Manharrngu clan. <BR> <BR> Toen Australië in 1966 overging op het decimale stelsel en er nieuwe bankbiljetten moesten worden gemaakt, verscheen deze schildering van Malangi op de achterkant van het nieuwe één dollar biljet. De ontwerper van de bankbiljetten had een zwart wit foto van het schilderij en ging er gemakshalve van uit dat het schilderij was gemaakt door een anonieme kunstenaar die al lang was overleden. De zaak haalde de pers en de in verlegenheid gebrachte directeur van de bank gaf opdracht de kunstenaar op te sporen en te belonen. David Malangi kreeg duizend dollar, een viskoffer en een zilveren medaille waar hij erg trots op was.<BR> <BR> GURRMIRRINGU STORY<BR> Gurrmirringu can be used to mean the first people of Manharrngu people and a particular spirit; a powerful hunter, law giver and warrior. He travelled all over Ngorrunyuwa and Mulanga (Eastern bank of t5he Glyde River) hunting and collecting. Looking to the north he could see smoke from from fires on the shore Crocodile islands and threw a spear which turned into rock just off the mouth of the River. Sometimes it is said that the rock is Gurrmirringu himself. One story says that he was killed by the bite of a King Brown Snake, the Death Addar, the nut from the Sage rush, the White berry bush and yams that he collected.<BR> In the 1960's a painting of Gurrmirringu lying 'in state' used to adorn the reverse side of the Australian one dollar note.<BR> <BR> <BR> RAMINGINING<BR> Ramingining is a small community of around 590 people, of whom about 30 are non-Aboriginal people, mostly advisors or teacherrs of some sort or another. The village itself is located some 400 kms to the east of Darwin, and nearly 30 kms from the Arafura Sea. It is a relatively new settlement, having only been established in the early 1970's. <BR> <BR> Earlier, in the 1960's an outstation of Milingimbi was set up at Nangalalala [ 8 kms N/E of Ramingining], a kilometre or so from the Glyde River. Ther older settlement Milingimbi Mission, was established in 1926 and is in fact situated on an island a few kilometres off the north Australia coastline. Nangala is still in existence, and is now considered an outstation of Ramingining.<BR> The area around Ramingining on the mainland is home for the Djinang speaking Wurrkigenydjarr/Marrangu, Wulaki, Mildjingi, Balmbi and Murrungun clans. In a wider circle are the Burarra, Rembarrnga, Wudamin, Ganalbingu and Manharrngu peoples. To the north are the Gorryindi, Gamalangga, Malarra and Walamangu peoples who look after the Crocodile Islands. Other people who live there and have ceremonial connections are members of the Gupapuyngu, Djambarrpuyngu, Wagilag, Liyagalawumir and Liya-gawumirr groups. <BR> The particular tract of land upon which Ramingining township is built is owned by the Djadawitjibi people, of the Djiang group. Their principal creative being is Garrtjambal, the kangaroo.<BR> Some 10-20 kms to the south of the village of Ramingining, where the looping Glyde River becomes the Goyder, is the large Arafura Swamp. Some 250 sq kms in area, this unique fresh water environment is home for an innumerable variety of water birds (including gurramatji, the magpie goose), fresh water plants, fields of water lilies, crocodiles, water snakes, insect life, and the magnificent and rare Corypha elata palm. (hundred year palm?).<BR> <BR> <BR> BARKPAINTING, ARNHEMLAND<BR> <BR> The first barkpaintings probably were on the inside of rain shelters. Lengths of Eucalyptus bark were attached with their smooth insides to simple frames of branches. People then would decorate the bark during periods of forced idleness. 19th century explorers reported that barkpaintings were an important factor in rituals and ceremonies. Today this is still the case in Arnhem Land. The choice and treatment of subjects was limited by cultural and religious traditions. Some of the paintings could only be exposed.<BR> <BR> The wet season is the best time to harvest the bark because it is flexible then and easy to remove. With a sharp axe two rings are cut into the trunk. These are subsequently connected wioth a vertical cut. As the bark is flexible and damp it is easy to peel off. The loose bark on the outside is chopped away. Subsequently, the remaining bark s put on a steady burning fire face down. Because of the heat the bark flattens and the moisture evaporates. Weighed down with stones the bark is left for a few days. Later, to keep the bark from warping sometimes sticks are attached to the top and the bottom.<BR> <BR> Arnhem Land artists only rarely use other colours than the basic red, yellow, black and white. The red and yellow derive from the ochres that are found in the ochre pits. Black stems from charcoal. White is made from plaster or pipe clay. The material is finely ground and mixed with water, added with a binder. The simple throw-away brushes are made of bark fibres, human hair, chewed twigs and thin shoots.<BR> Portrayed are subjects related to daily life. On the coast, for example the hunting of kangaroos, fresh water crocodiles and birds. Other images have to do with personal totem stories and Dreamtime histories.<BR> <BR> Within Arnhem Land art there are distinct regional styles. The famous x-ray style is mostly found in the western part. Not only the outside of a human being, animal or spirit is painted, but als important organs and the spine. These paintings often have a plain background and one or two figures, one of them being a Mimi spirit. The most important parts of the work are covered with cross lines. These patterns are individual, every artist having his own pattern.<BR> When we look at the choice of subject and technique, there is a strong resemblance to the old rockpaintings in the area. The art in the northern and eastern part of Arnhem Land is more colourful and intricate. Often the, the whole bark is covered with figures and abstract, geometric patterns. Frequently, there is a border around the painting and the work is divided into segments representing different stories. <BR> In central Arnhem Land there is more an exchange between the different groups. Art here is open to change. The composition is more important than the intricate attention to details and thus acquires greater vitality.<BR> <BR> <BR> <BR> <BR> <BR> <BR>