Images(7)

Feeding Brolgas

Artist Jack Kalakala (Australian, 1925 - 1987)

DateUnknown

CultureAboriginal Australian (rembarrnga Language Group, Balngarra Clan, Dhuwa Moiety)

Place MadeAustralia, Oceania

MediumMineral pigments on eucalyptus bark

Dimensions104.4 x 49.5 x 3 cm (41 1/8 x 19 1/2 x 1 3/16 in.)

Credit LineGift of Dr. and Mrs. Douglas Howard

Object number83.4.1

On View

Not on view

Label TextThis bark painting’s subject matter may show a creation story pertaining to the Sky Dome and the Sky World. The subject matter depicts two groups of emus separated by a large tree, set in the middle of the composition. The great tree in legend, is also known as Warda. According to Daisy Bates from the people from the Great Australian Bight, the tree that is said to hold up the Sky Dome, a place where the earth meets the sky (4). Emus were believed to place their camp near Warda so that they could protect the great tree from any harm, as seen in the two groups of emus that surround the tree (2). A possible function of the emus on the left, surrounded by black ochre, is that they are a part of an emu camp. The sky dome usually had supports to help hold it in place in the sky. In some regions, it was believed that groups of emus camped nearby to help hold the dome up as the great tree, Warda, could not support the dome by itself (3). Therefore, the emus present in the black ochre could be supporting the dome while residing in their camp. This is further supported by the location of the emu camp, which is found near a dark patch in the sky by the Southern Cross (5). The group of emus on the right are decorated with white striations across their bodies, their black legs showing under their bodies as they face the sky. The exact significance of these emus may possibly be connected to the group of the emus on the left, as they could be a part of the emu camp. Warda, the great tree, had to be protected at all times, as it was key to holding the sky dome up (2). The camp of the emus on the right faces the tree as they step forward, as if they were to shield the tree. Each of the emus’ heads look in slightly different directions as if to scan for danger that could be entering the sky world. The smaller groups of trees beneath each camp of emus could be connections between the earth and the sky world. Traditional healers could use these trees to gain entry into the Sky World (2). One region recounts a time when traditional healers would climb up through the branches of the trees, pass the stars, and enter into the hole in the sky dome (5). It is possible that the trees seen on the right of the composition represent the trees that healers would climb as a connecting cord to both worlds. This is supported by the background filled with white striations, behind the trees on the right, that could represent the stars that the healers would climb passed to get to the entrance. The trees on the left side are painted black with a contrasting white background. These trees could represent another entrance for healers into the sky world as one of the first groups of healers reached the sky world the beauty and light that they saw was unrecognizable (2). It is possible that the space filled with rarrk patterning between the small trees and the emus represents the highway that belonged to the sky that healers travelled on. Once healers entered the sky world, they could walk about, live in the vault, barter between hunting territories, and make visits to different people (2). The tree and the sky world possessed a regular highway between the earth and the upper world, the patterning connecting the small trees, the emus, and the great tree together. The connection between the highway and the key subjects in the painting supports the notion of the life between earth and the sky world (6). A possible connection between the emu, Warda, the highway, earth, and the sky world, are further strengthened through the use of the patterning of white dots on blank background and white dots on black backgrounds, along with the rarrk patterning that decorates the space underneath the emu and their bodies. As rarrk patterning has different representations and meanings depending on the context there are many different possibilities of the meanings of the decorative patterns of the white and black ochre. For the exact meaning of the decorative patterning to be understood an expert would have to be consulted and further research on this topic is necessary.

Most of the information about our objects comes from original files, which we are currently reviewing. As such, some of the language may reflect past attitudes and practices that are not acceptable. The Madison Art Collection does not condone the use of offensive or harmful language and does not endorse any of the views reflected in outdated documents. We are committed to an approach that is inclusive and respectful, and we wish to correct language that may be harmful or inaccurate. If you have suggestions, please email us at madisonart@jmu.edu.