Yirawala, Artist and Man
Introduction by Phillip Roberts; brief outline of Aboriginal life, antiquity of human occupation of Australia, origins, religious background to art, adaptation to environment, effects of European contact, social organization; (Arnhem Land) moieties, sections, marriage, breaches of marriage law, division of Labour, spirit beliefs; recounts authors first contacts with Yirawala, gives version of Maung myth, notes on cooking geese, reproduces biographical information on Lazarus Lami-Lamitaken from taped letter, Maung myths; Goulburn Is. mortuary ceremony, spirit beliefs; attitude of Yirawala to mining, prospectors and land; Gunwinggu myth on origin of didgeridoo; account of filming expedition to take Yirawala to home territory; versions of 5 myths - Lumah-lumah, the big Maraian man; Namarrgine, the birdman; Gurgurr, the moon man; Booma-booma, the big man; Namorren, the lightning man, each with reproductions of series of bark paintings with relevant notes in margin; profusely illustrated with examples of Yirawalas paintings.
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Aborigines Arnhem Land artist asked associated Australian baby bark began Bew-bew body bones brought bush called camp canoe cave ceremony close dance Darwin dead death designs drawings Dreaming eyes face father fear fight finally fish giant girls give given Goulburn Island ground hands happened head Island Jiritja Jun-bar-bar kangaroo kill Later laws Lazarus learned leaves little boy lived look Lumah-lumah magic man's Maraian Mimi Mission moiety mother moved Myganaich never night once painting reached remains represent returned River rock sacred sent singing skin social songs soon spear spirit stone story taken talked tell things told took traditional trees tribal tribal lands tribe turned Ubar walked waterhole wife wives woman women Yirawala young