WEST KIMBERLEY PLACE REPORT - Department of Sustainability ...
WEST KIMBERLEY PLACE REPORT - Department of Sustainability ...
WEST KIMBERLEY PLACE REPORT - Department of Sustainability ...
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CRITERION (i) – The place has outstanding heritage value because <strong>of</strong> the place's<br />
importance as part <strong>of</strong> Indigenous tradition.<br />
WANJINA–WUNGGURR TRADITION<br />
The traditional homeland <strong>of</strong> the Wanjina–Wunggurr community in the north<br />
Kimberley includes members <strong>of</strong> the Worrorra, Ngarinyin, Unggumi, Umida,<br />
Unggarrangu, Wunambal and Gaambera language groups. Collectively, this<br />
community believes that they are themselves descendents <strong>of</strong> a single creator being<br />
called Wanjina (Blundell et al. 2009). Thousands <strong>of</strong> images <strong>of</strong> Wanjina occur in rock<br />
shelters across the region; a visual testimony <strong>of</strong> a complex association <strong>of</strong> socioreligious<br />
beliefs that continue to be central to the laws and customs <strong>of</strong> the Wanjina–<br />
Wunggurr community. In no other Indigenous society in northern or central Australia,<br />
indeed anywhere in Australia, does a single class <strong>of</strong> Creator Being, depicted as a<br />
distinct rock art motif, have such a significant and multifaceted role or set <strong>of</strong><br />
associated meanings and practices (Blundell et al. 2009, 66).<br />
As an embodiment <strong>of</strong> the sacred Wunggurr life-force that permeates the cosmos, the<br />
Wanjina evoke the primordial but continuing era <strong>of</strong> creation called Lalai (the<br />
Dreaming). During Lalai, the Wanjina worked with the Wunggurr Snake and other<br />
animal helpers to make the country. The Wanjina gave their human descendents their<br />
laws and customs, and continue to instruct people in their dreams. As part <strong>of</strong> the<br />
ongoing reciprocity between the Wanjina spirit ancestors and their human<br />
descendents, senior law-men renew the Wanjina paintings in order to keep them<br />
'fresh' (Blundell et al. 2009, 54).<br />
Wanjinas take the form <strong>of</strong> anthropomorphs, animals and plants and play a crucial role<br />
in the society's ongoing social, economic and cultural life. Paintings <strong>of</strong> the Wanjina<br />
play a fundamental role in specifying the geographical location <strong>of</strong> the homeland and<br />
in specifying the nature and basis <strong>of</strong> the citizenship <strong>of</strong> its members. Each member <strong>of</strong><br />
the Wanjina–Wunggurr society 'belongs to' a local country within the overall<br />
Wanjina-Wunggurr homeland. These local countries which anthropologists call 'clan<br />
estates' (dambun in Nyaringyin, dambima in Worrorra and gra in Wunambal and<br />
Gaambera) were formed when certain Wanjina became localised in them as<br />
'paintings'.<br />
Wanjinas guide social relationships and the order <strong>of</strong> exchange amongst the members<br />
<strong>of</strong> these local (clan) groups within a regional system <strong>of</strong> law known as the wurnan<br />
(wunnan, wunan) (Blundell and Layton 1978; Deakin 1978; Mowaljarlai and Malnic<br />
1993; Redmond 2001; Ngarjno et al. 2000; Blundell and Woolagoodja 2005; Doohan<br />
2008; Blundell et al. 2009).<br />
* * * *<br />
'Wunan is created from beginning to share everything in life. It's total care <strong>of</strong> life that<br />
Wunan' (Banggal, also known as David Mowaljarlai (dec) in Ngarjno et al. 2000).<br />
* * * *<br />
According to Wanjina-Wunggurr tradition, in Lalai, the moieties or skin groups were<br />
established by two nightjars known as Wadoy (Wodoi) and Junkun (Djingun). Clan<br />
estates are either Wadoy or Junkun. These skin laws created two channels in the<br />
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