Born in 1965, Djul’djul Gurr is the daughter of Gaalpu clan artist Mithinarri Gurruwiwi and Duwambu Burarrwaŋa. Her homeland is Gawurr and her moiety is Naypinya Dhuwa. She has developed her art practise over the past few years to include her frogmoth Dhuwa and uses precise line work to decorate her carvings and paintings.
She works alongside her sister to paint the designs associated with the stories belonging to her father’s clan.
The below is a brief explanation of the Moieties, Dhuwa and Yirritja.
Overview of Traditional Relationships to Land (and water) http://www.territorystories.nt.gov.au/jspui/bitstream/10070/213103/5/WRD99002.pdf
‘The first thing is that there are two moieties, Dhuwa and Yirritja. Everyone and everything is either Dhuwa or Yirritja. Yirritja people sing about Yirritja things, like Yirritja rocks, Yirritja winds, wildlife, clouds, ancestors, creators and many things.
A Yirritja person must always marry a Dhuwa person, and Dhuwa must marry Yirritja. You can’t marry the same moiety. That’s how the world works. It has been there for thousands of years. We live by that.
If a man or a woman is Dhuwa, their mother will be Yirritja. Also, Dhuwa land can have another piece of land nearby which is its mother, Yirritja. For example the Gumatj land at Bawaka, which is Yirritja, is right next to its mother, the Rirratjingu homeland centre named Yalangbara, which is Dhuwa.
Everywhere we can find the child and the mother, not only when we see people, but also when we see the land. This relationship is commonly referred to as Yothu-yindi. In a Yothuyindi partnership, one partner is alwys Dhuwa, the other always Yirritja. The Yindi is always considered to be the mother of the Yothu, even if we are talking about two men, or two
pieces of land. Sometimes Yirritja is the mother for Dhuwa, sometimes Dhuwa is the mother for Yirritja.’
(Raymattja Marika-Mununggiritj, Fellow of CINCRM, NTU)
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