Ḻuku dhiṉ’thun: Always following the path of our Ancestors

Conversation between artists David Roy and Leonard Bowayngu with coordinator of Djalkiri Keeping Place Harriet Watts on the language of Yolngu art and the archival frame, with Jason Dhawulunbulun and Leon Milmurru. Acknowledgement of Country by Djon Mundine OAM.

Matthew Teapot Djipurrtjun’s sharp and graphic style uses colour expertly to create rhythm and pattern. His large bark ‘Ṉaku Muwaṉgi’ – A History Story’ depicts an abundance of eggs being collected in sewn bark canoes in his homeland, the Ganalbingu Malibirr waters of Muwanggi – the Arafura Swamp near Ramingining.

Jason Dhawulunbulun’s work has a beautifully relaxed composition and confident style. As an emerging Djambarrpuyngu clan leader, he is exemplary of the importance of Djalkri Keeping Place – having travelled to see works by his uncles and grandfather Manuwa, his painting practice developed from a desire to record stories correctly, continue to paint and sing them, and teach his children.

Darryl Yatjany’s quick hand brings a repetitive rhythm to his works on wood. His work depicts various waters represented by rarrk (cross hatching), identifying fertile places where currents mix, or connections between places by flowing water.

Judy Lirrininyin’s works are powerful in their memory of her father Binyinyiwuy, renowned artist and community leader. She remembers sitting and watching her father as a young girl, the stories and knowledge she learned from him. It’s unusual for women to be allowed to paint these ceremonial designs – Lirrininyin is a rare exception for her generation, honouring her father’s legacy with great pride.

Sonia Birrtjilimbi’s works tell the creation story of two ancestors, the Djang’kawu Sisters, that travelled across Arnhem Land creating and connecting all Dhuwa clans. The rights and responsibility for these Garrawurra miny’tji (designs) were given to Birrtjilimbi’s aunty Ruth NGalmakarra from her brother before he passed. Today, three generations of Garrawurra women, all strong weavers, paint these designs.

Finally, a selection of Milingimbi’s ‘memorial copper etchings’ – a project that is emblematic of the story of djalkiri and Djalkiri Keeping Place. The collection of prints acknowledge the many important leaders that have been central to the cultural identity of the community, with each artist drawing from early works by the likes of Djäwa, Binyinyiwuy and Manuwa. Together, they celebrate the intricate connections between them.

Leonard Bowayngu’s print, associated with Räpuma Island next to Milingimbi, helps to explain some of these layered connections. It also refers to the story of the Djang’kawu Sisters – you can see their djalkiri (footprints) on one side.

“Two sisters, travellers, when they came, all the way, they made a gapu (water), named the tribes, named the waterhole, named the place, named the boundary, and the matha (language) changed, changed every time they travelled. They had two digging sticks, but when they came to my Country at Räpuma they tried to dig for water and the ground was too hard, they broke one of their dhoṉa (digging sticks). There’s no freshwater at Räpuma, it’s brackish, but my people still found a way to live there for a long time.”

Artists in Milingimbi stand with strength and pride on their djalkiri, adapting to contemporary influences, continually learning and teaching the strength, permanence and importance of Yolngu culture.

“Our culture never died, it’s always passing [from one generation to the next]. And we know the next generation are coming. When my clan group are gone, I know young fellow behind me are coming. And when I die my children will come behind, they will never change the pattern of the painting, always the same.”

Written by Hetty Watts in conversation with Leonard Bowayngu

L to R: Joe Dhamanydji, Guku Ngäṉitj Djiliwirriw (Honey of Djiliwirri), ochre on bark, 67 x 158 cm (#271-23). Matthew Teapot Djipurrtjun, Ṉaku Muwaṉgi (A History Story), 2024, ochre on bark, 150 x 65 cm (#158-24). Jason Dhamarandji Dhawulunbulun, Dhambaṉiny (Death Adder) – Djambarrpuyngu, 2025, ochre on bark, 140.6 x 48 cm (#132-25). Joe Dhamanydji, Dhukururru, Warraga’ga Burarr Gapu (Sacred Rock, Cycad Nut and Freshwater Springs), 2024, ochre on bark, 138 x 49 cm (#71-24). Photograph: Silversalt.

Luku dhin’thun: Always following the path of our Ancestors. The Cross Art Projects, 2026 (installation view).

L to R: George Milaypuma, Yukuwa ga Yamany (Root foods), 2025, ochre on wood, 70 x 20 cm (#428-25). David Yarrang Roy, Larratitja (Barracuda), 2026, ochre on wood, 69.5 x 17 cm (#12-26). Jason Dhamarandji Dhawulunbulun, Marawa (Long-Finned Garfish) – Djambarrpuyngu, ochre on wood, 104 x 41 cm (#135-25). Joe Dhamaranydji, Guku Galanarr (Gupapunynu Body Paint Design), 2025, ochre on wood, 69 x 33 cm (#382-25). Photography: Silversalt.

Luku dhin’thun: Always following the path of our Ancestors. The Cross Art Projects, 2026 (installation view).

(L to R): George Milaypuma, Garrangunung (Hammerhead Shark), 2024, ochre on bark, 130 x 23 cm (#168-24). David Yarrang Roy, Larratitja (Barracuda), 2025, ochre on bark, 109 x 74 cm (#485-25). Joe Dhamanydji, Garrangunung (Hammerhead Shark), 2024, ochre on bark, 170 x 63 cm (#161-24). Photography: Silversalt.

L to R: Matthew ‘Teapot’ Djipurrtjun, Warrabunbun Dhäwu, 2024, etching, 50 x 33 cm (#340-24-4/40). Joe Dhamanydji, Guku Galangarr (Gupapuyngu body paint design), 2024, etching, 50 x 33 cm (#321-24-6/40). Judy Lirririnyin, Gurtha dhäwu (Fire Story), 2017, ochre on paper, 56 x 38 cm (#3377-17). Photography: Silversalt.

Joe Dhamanydji, Mokuy / Guku Galangarr (Gupapuyngu Body Paint Design), etching on paper, 50 x 33 cm (#321-24-6/40)

Luku dhin’thun: Always following the path of our Ancestors. The Cross Art Projects, 2026 (installation view). Foreground: Judy Lirririnyin, Flying Fox Camp, 2017, ochre on paper, 56 x 38 cm (#3376-17). Photography: Silversalt.

 David Yarrang Roy, Larratitja (Barracuda), 2025, sculpture, ochre on wood, 133 x 37 x 15 cm (#395-23). Photography: Silversalt.

David Yarrang Roy, Guḏidi (Common Sandpiper), Ochre on wood, 170 x 60 x 60cm (#484-25)

David Yarrang Roy, Guḏidi (Common Sandpiper), 2025, sculpture, ochre on wood, 170 x 60 x 60 cm (#484-25) (detail). Photography: Silversalt.

(L) George Milaypuma, Murayana mokuy – Gupapuyngu, sculpture, ochre on wood, 78.5 x 13 x 11cm (#290-24). (R) George Milaypuma, Murayana mokuy – Gupapuyngu, sculpture, ochre on wood, 87 x 17 x 10 cm (#77-24). Photography: Silversalt.

Luku dhin’thun: Always following the path of our Ancestors. The Cross Art Projects, 2026 (installation view). Photography: Silversalt.

Etchings in situ (installation view). Luku dhin’thun: Always following the path of our Ancestors. The Cross Art Projects, 2026. Photography: Silversalt.

Judy Lirririnyin, Djambarrpuyngu Banumbirr, 2019, image size 20 x 10 cm, paper size 40 x 27 cm (#128-19-31/30). Photography: Silversalt.

Luku dhin’thun: Always following the path of our Ancestors. The Cross Art Projects, 2026. Photography: Silversalt.

Darryl Yatjany, Dhukurrurru at Milaway (Sacred Rock), carving, ochre on wood, 152 x 19 x 20 cm (#294-25). Photography: Silversalt.

Luku dhin’thun: Always following the path of our Ancestors. The Cross Art Projects, 2026. Photography: Silversalt.

Aerial view of Milingimbi, 2025. Photo: Kris Cook.

Joe Dhamanydji by Tim Hillier, MACAC, 2023.

Jacinta Burukumalawuy and Jack Minmiḏi working together with weaver Sabrina Roy to look at old photos and identify Yolngu for Collections metadata.

MACAC at Milingimbi

Artist Biographies

Sonia Birrtjilimbi
Born 1979
Clan Gupapuyngu
Language Gupapuyngu

Sonia Birrtjilimbi is from a long line of renowned artists who paint the well-known three-colour patterns that are the Garrawurra miny’tji (designs). Mickey Durrn passed on rights and responsibilities to his sisters, one of whom is the painter and sublime weaver Helen Ganalmirriwuy, Sonia’s mother and teacher. Sonia and her generation of women artists now proudly paint these bold designs.

Leonard Bowayngu
Born 1963
Clan Gorryindi
Language Djinang (Yan-nhangu)

Leonard Bowayngu has intricate knowledge of his father’s Gorryindi country, mother’s Walamangu country as well as the wänga, manikay ga rom (country, songlines and law) that connects Mälarra and Gamalangga clans. Although Leonard was born on the mainland, he lives at Bodiya homeland on Yurrwi (Milingimbi Island). Bodiya belongs to the Walamangu clan of the Dhuwa moiety. Leonard’s mother is of the Walamangu clan, making Leonard djunggaya (caretaker) for the wänga, ringgitj ga rom (country, songline and law) of Bodiya. The djunggaya Leonard can paint the miny’tji (designs) belonging to Bodiya and is obliged to watch over and ensure that the Walamangu yolngu correctly execute their miny’tji, bungul ga rom. He explains that he can stand at Bodiya and sing the stingray section of the ringgitj (songline). Leonard can explains the relationship of the Gorriyindi, Walamangu Mälarra and Gamalangga clans and how these relationships are reflected in the wänga (country). For example, the Goriyindi, Walamangu and Gamalangga gapu meet and come apart at sacred sites called Gapirra. Gapirra and other significant sites are depicted in Leonard’s artwork. Today, Leonard leads the continuum of ceremonial practice and cultural teaching. Inspired by the teachings of his forefathers, he also works with youth at risk. He says that during the NGärra (men’s ceremony) raypirri ga mundhurr (discipline and reward) are given in different forms. “The reward is the manikay (song) the men sing to the boys. The NGärra is rom luku (foundational law that can’t be moved) and teaches respect for wänga (country), women and girls, young and old.”

Joe Dhamanydji
Born 1960
Clan Gupapuyngu
Language Gupapuyngu & Dhuwa

Joe Dhamanydji is a senior artist, Milingimbi Art and Culture board member, and ceremonial leader for his Gupapuyngu Daygurrgurr clan. He has extensive cultural knowledge and authority across many Dhuwa and Yirritja clans. He holds obligations to manage the legal affairs and designs of his own clan, as well as for his ngänd ipulu (mother clan) Liyagawumirr Gurrawurra; his märipulu (mother’s mother’s clan) group Mandjikay, which includes allied clans such as Wobulkarra and Guyamirrilil; and his yapapulu (great- grandmother clan) Warramiri. His ancestral homeland is Djiliwirri, the foundational bone country of his Gupapuyngu Daygurrgurr clan, located southwest of Elcho. As a child he watched senior artists paint many of the works that are now central to Australian collections in the shade of Makassan tamarind trees. Joe is heir to a long lineage of powerful cultural leaders and innovators including his father Tom Djäwa. He learnt to paint from his older brothers Dr Joe Gumbula and Manawila and has continued the work initiated by his brother Dr. Gumbula, a renowned researcher and academic, of identifying invaluable knowledge embodied in artworks and objects in national and international collections. Dhamanydji says, “there is a lot of work to do to make sure meaning is not lost.” His artworks are in collections including AGNSW, Chau Chak Museum, and Museum Victoria. He was a finalist in the 2024 NATSIAA at MAGNT, Darwin.  

Jason Dhawulunbulun
Born 1977
Clan Djambarrpuyungu Dhamarrandji
Language Djambarrpuyungu

Jason Dhawulunbulun was taught by his father, Yerrilil, and Yerrilil was in turn taught by his father, painter and Djambarrpuyngu leader Manuwa and his father’s brothers (also considered fathers in Yolngu kinship). Featured in both clan miny’tji and manikay (ancestral song cycles), Daruma demonstrates title to country and authority in ceremony that takes many years to learn before painting. Dhawulunbulun works as cultural consultant on the art centre’s Djalkiri Keeping Place project. In 2025 he visited historical paintings in Canberra, Paris and Switzerland that were collected by Czech-French artist and ethnologist Karel Kupka in the 1950s and 1960s. 

Matthew ‘Teapot’ Djipurrtjun
Born 1984
Clan Malibirr
Language Burarra, Ganalbingu, Yan-nhangu & Dhuwal (Djambarrpuyngu)

Matthew and his brothers were taught by their father to paint, sing and dance manikay (ancestral songlines). He is active in ceremony and is an emerging cultural leader. The designs he paints are miny’tji that are used in Malibirr ceremonies—painted on bodies, memorial poles and other rangga (ceremonial objects). Matthew comes from a strong line of artists and respected law-holders who paint the Malibirr clan miny’tji (designs), including his father’s father NGulmarmar, his father Djilminy, his father’s brother Milpurrurru and aunt Djukulul, all artists who feature in many national and international collections. His work was featured in the 2026 Adelaide Biennial of Australian Art at Art Gallery of SA and in Taripang/Dharripa/Trepang at NCCA, Darwin and The Cross Art Projects, Sydney. He was a finalist in the 2024 NATSIAA at MaGNT, Darwin.   

Judy Lirririnyin
Born 1958
Clan Djambarrpuynu Wanybarrna
Language Djambarrpuyngu

Judy Lirririnyin learnt painting from her father, renowned artist Binyinyuwuy. From her mother and grandmother she learnt weaving, making bathi (bags) and mät (two-dimensional weaving). In 2016 she was inspired by the exhibition Art from Milingimbi: taking memories back at the Art Gallery NSW to begin painting her clan designs. Her purpose is to continue sharing her parents’ memory and strength with her grandchildren. Today, alongside her art, she continues to work as part of the Strong Women’s Program at the Milingimbi clinic. 

George Milaypuma
Born 1947
Clan Gaykamangu
Language Dhuwala’mirr

George Milaypuma learnt by watching his father, the Gupapuyngu leader Djawa who lead all aspects of the Milingimbi Community in the 1950s. Milaypuma hopes that his clan designs and law continue to capture the imagination of children as they grow and become adults. Milaypuma says, “It is important to follow my father’s footsteps… our culture has been here for a long time and we need it to keep going.” Milaypuma makes his work at home but is excited that all the djamarrkuli (children) get to see his work and remember the story for Mokuy Murayana when they visit the art centre. George shares his knowledge through roles other than artworks. He worked as a cultural adviser with the Crocodile Island Rangers from 2013 to 2018 and as a cultural consultant for many museums and galleries including Museums Victoria and the Chau Chak Museum, University of Sydney. In 2017 Milaypuma worked with the ARDS production team on a feature length film, Wata Burrmalala — Cyclone Culture with residents from Ramingining and Milingimbi communities contrasting their ancestors’ ancient knowledge with modern weather tracking. He currently helps direct and advise on art centre matters in his role on the art centre board.

David Yarrang Roy
Born 1967
Clan Mälarra
Language Burarra (Anbarra), Djambarrpuyngu & Yan-nhangu

David Roy creates carvings and bark paintings associated with his clan wangarr (dreamings) which include the Larradjadja (Barracuda), Burunggurr (Pelican), Djarrak (Sea Eagle), Dikarr (Flying Fish) and Nyangbal (Sea Dollars). His clan owns islands to the north and east of Milingimbi in the deep saltwater including Galawin’ku (Elcho Island) and Murrungga. The Yarrang tells of how Larradjadja lays his eggs to the east of Murrungga Island before travelling north-west. His teeth are represented by the serrated upright pieces on the top of Mälarra hollow logs, which are traditionally used for burial rights.

Harry Wirrimbitj
Born 1955
Clan Wangurri
Language Wangurri

Harry Wirrimbitj learnt to paint by watching senior men during Dhapi and NGärra ceremonies. His father was an artist but only painted miny’tji for ceremony and teaching children. Wirrimbitj grew up at Milingimbi and developed his knowledge of his Wangurri Manydjikay clan estate whilst traveling to country, learning rom, ringgitj, manikay ga miny’ji. (Law, dreaming tracks, song, and designs). Wangurri Manydjikay country includes areas of the mainland, sea and islands east of Galiwin’ku (Elcho Island). He grew up in Mission times and learnt English at school and Yolngu-matha at home.
In retirement he continues to live at Yurrwi with his wife and extended family. He is a member of Mala Community Advisory Board visits the community aged-care and art centre.

Darryl Yatjany
Born 1982
Clan Wobulkarra Manydjikay
Language Dhuwal

Yatjany is an emerging artist and the the oldest son of senior Wobulkara Manyjikay man, Timothy Milinginbi and weaver Emma Gundurrubuy. He learnt Wobulkarra Manyjikay rom (law), manikay (songs), ringgitj (interclan political and ceremonial alliances) and miny’tji (designs) from his father and father’s brother, Raymond Bulambula. Yatjany grew up on his mother country, Räpuma, an island near Milingimbi. Räpuma is an outstation with no shop, as Yatjany describes it, “just fish”. He also paints his and his father’s country of Langarra (Howard Island), about 50km directly west of Milingimbi. Yatjany is an emerging ceremonial leader for his father’s Wobulkarra clan and has the authority to sing, paint and dance Wobulkarra miny’tji and manikay ceremonially.

Colin Yerrilil
Born 1941
Clan Djambarrpuyngu
Language Djambarrpuyungu

Colin Yerrilil was a senior Djambarrpuyngu Dhamarranydji cultural man and artist. He is renowned for painting his Djambarrpuyngu clan designs, including clan totems Bul’manydji (shark), Banumbirr (morning star) Bäpi (snake), and Daruma (conch shell). Yerrilil was born at his father’s homeland of Djawal’ngur (in the Buckingham Bay region). When he was a small child he remembers his father, Mark Manuwa, his father’s brother Johnny Dhawurrpurr, their two sisters, and their father, Marritja, making a trip from Djawal’ngur to Milingimbi by lipalipa (canoe) curious about the new Methodist mission. Shortly afterwards the family moved to Milingimbi. Before becoming an artist Yerrilil worked in airstrip maintenance, barge deliveries and mechanical services. As a senior Djambarrpuyngu Dhamarranydji man, Yerrilil continued to carry and practice his clan’s rom (law), miny’tji, (designs), manikay (songs) and bunggul (ceremonies). He spent his final days surrounded by family under the Djambang tree where he had learnt from his fathers in the decades before and had taught his sons and grandchildren.

About Milingimbi Arts and Culture

The Yurrwi (also known as Milingimbi) community is part of the Crocodile Island group in the Arafura Sea, approximately 500km off the coast of Central Arnhem Land and 200km West of Nhulunbuy. The communty was established in 1923 by the Methodist Overseas Mission. The missionaries were generally supportive of Yolngu art and between the 1930s and 1950s Milingimbi was a focus for national and international anthropologists and art collectors. During World War II, airstrips were built and used as an RAAF base. After being bombed by the Japanese, most residents moved to the mainland/Elcho Island. Donald Thompson, whose previous work in Arnhem Land in the 1930s advocated strongly for Yolngu sovereignty, led a Yolngu reconnaissance unit to patrol the vast stretch of coast along Arnhem Land. Several key Yolngu artists from Milingimbi joined this force. The missionaries returned in 1951 and re-opened a school. Following the movement to Aboriginal self-determination during the 1970s the mission closed in 1974. The population of Yurrwi today is approximately 1,230. (2016 Census.) Cultural repatriation and the keeping place started in 2020 with some 80 museums now contacted. Djalkiri Keeping Place and other like-minded community collections help artists to retrieve and reflect on cultural knowledge, important stories of places and songlines. The collections (digital and object based) keep important cultural material close to family, in a living relationship. 

Websites

Milingimbi Art and Culture
Djalkiri Keeping Place

Related Exhibitions

2024—2025: Taripang / Dharripa / Trepang Remix, at Northern Centre for Contemporary Art, Darwin in 2024 and The Cross Art Projects, Sydney, 2025. Curated by Petrit Abazi.
2024: We Are The Old: Luku NGurrunggitj—Joe Dhamanydji & Matthew ‘Teapot’ Djipurrtjun at Salon Projects at Tactile Arts, Darwin. Curation and essay by Max Moon
2021: Dhomala Dhäwu: Makassan Sail Stories—Ipeh Nur and Margaret Rarru Garrawurra at The Cross Art Projects. Curated by Jo Holder.
2021: Gululu dhuwala djalkiri: Welcome to the Yolngu foundations at Chau Chak Wing Museum, University of Sydney. Curated by Rebecca Conway.
2019: Reinvigorating the MECA Collection, at CDU Art Gallery, Charles Darwin University.
2017: Art from Milingimbi: Taking Memories Back at Art Gallery of NSW. Curated by Cara Pinchbeck. The exhibition showcased artistic excellence evident in the community in the 1950s, celebrating the work of Binyinyuwuy, Buranday, Dayngangan, Dawidi, Djäwa, Djimbarrdjimbarrwuy, Lipundja and Makani.

Acknowledgements

Jo Holder (Director, The Cross Art Projects) would like to thank the artists, Milingimbi Art and Culture, Djalkiri Keeping Place, Hetti Watts and Mel Ladkin (co-curators), Belle Blau, Robert Pulie, Phillip Boulten, Djon Mundine, Jasmin Stephens and Ace Bourke.