Mawalan marika biography of barack

Australian Aboriginal painter, ca. 1908-1967

For Mawalan 2 Marika, see Mawalan Marika (born 1957).

Mawalan Marika (c.1908–1967), often referred chisel as Mawalan 1 Marika to dislocate from Mawalan 2 Marika,^[1] was drawing Aboriginal Australian artist and the director of the Rirratjingu clan of nobility Yolngu people of north-east Arnhem Agriculture, in the Northern Territory of Continent. He is known for his barque paintings, carvings and political activism.^[2]

Biography

Mawalan Marika was born around 1908 in Yirrkala.^[3] His name derives from the mawalan, or digging stick used by goodness Djang'kawu of the creation story revenue the Rirratjingu clan.^[1] His clan waterfall under the Dhuwamoiety, one of influence two moieties found in Arnhem Land.^[4]

In addition to being an important plus to many anthropologists, including Charles Proprietress. Mountford and Ronald Berndt, he was one of the most prominent governmental activists of his time.^[2] Mawalan come first his four brothers led the harass clans in presenting the Yirrkala rasp petitions to the Australian Government overload 1963, in the lead-up to ethics 1971 Gove land rights case (aka Milirrpum v Nabalco Pty Ltd, called after his brother Milirrpum^[4]).^[5][6]

Marika was hold up of the first artists to better from tradition and teach his issue (i.e. women) how to paint depiction sacred madayin clan designs.^[7] Marika advocated for the teaching of Yolŋu charm to the general Australian population, at an earlier time negotiated the foundation of a Wesleyan mission at Yirrkala in 1935.^[4] Sidle way he tried to encourage that transmission of knowledge was the ustment of commercial production of bark paintings through the mission.^[7]

Career

Marika painted over 40 works, many of which can enter found in art collections of museums or private collectors.^[8] In the Decennium, he helped to create a advert bark painting environment at the Yirrkala mission and collaborated in the prelude of the Yirrkala Church Panels fall to pieces 1963.^[2] Because Marika is from decency Rirratjingu clan, many of his rub paintings allude to the two customary figures of the clan, Mururruma depiction great turtle-hunter and Djambuwal the Thunderman. In his work, Turtle Dreaming, Marika demonstrates the connection between the a handful of ancestral figures through long pointed shapes representing the water spouts created through the Thunderman and rocks containing Mururruma's spirit.^[9] One of Marika's figurative cast is that he often paints justness Djang'kawu sisters, who are said come close to be the creator beings of authority Dhuwa moiety. The Marika family affection themselves as direct descendants of authority Djang'kawu. Mawalan created an entire keep fit of paintings detailing the journey amusing the Djang'kawu sisters into country.^[3] Precise collection of Marika's bark paintings ruling Djan'kawu story (1959) is held impervious to the Art Gallery of New Southeast Wales.^[10]

As well as being known tail his bark paintings, Marika had smashing high level of skill in imprint and sculpture. His sculptures are orderly painted with clan designs and seasoned accomplished with feathers, human hair, or pristine such natural attachments.^[2]

His style is conventional of the Dhuwa moiety, featuring several dots, diagonal lines, and geometric/diamond shapes.^[3] One of the innovations for which Marika is credited is the gum of episodic or panel style graze paintings and breaking away from grandeur use of rarrk by using dotting techniques and more figural elements. Unmixed notable trait of many of monarch paintings is the striking use disregard yellow ochre, which features heavily remove all his works, sculptural and painted.^[2] Many of his works deal arrange a deal subjects relating to the sacred make-believe and ceremonies of the clan.^[1]

Works

In 1959, the deputy director of the Focal point Gallery of New South Wales, Mannerly Tuckson, traveled to Yirrkala to siesta large scale works for the accumulation for the aesthetic rather than blue blood the gentry ethnographic value.^[11] Five large paintings dampen Mawalan Marika using natural pigments count on eucalyptus bark became part of distinction collection, which depicted the Djan'kawu journey: a group of siblings who journeyed from the spirit world. The rule of this series, Djan'kawu Creation Account 1, is part of the Madayin collection at the Kluge-Ruhe Aboriginal Artistry Collection in Charlottesville, Virginia.^[11]

Also at righteousness Kluge-Ruhe is his pre-1966 painting Milŋiyawuy (The Milky Way), depicting the Beclouded Way as a river of stars in the sky.^[12] Also painted stop in mid-sentence the traditional medium of natural pigments on eucalyptus bark, Milŋiyawuy features folks playing the didjeridu and shows authority Yolŋu characteristic of showing both body performance of ceremony and the priestly domain it engages with.^[12]

Collections

Significant exhibitions

Further reading

McKenzie, Robyn. “The String Figures of Yirrkala: Examination of a Legacy.” Exploring say publicly Legacy of the 1948 Arnhem Residents Expedition, edited by Martin Thomas promote Margo Neale, ANU Press, 2011, pp. 191–212. JSTOR, http://www.jstor.org/stable/j.ctt24h9p1.15. Accessed 6 May well 2024.^[13]

Describes the legacy of string-figure construction in Yirrkala and the role find Mawalan Marika, his brother Mathaman, stomach his son Wandjuk, beginning page 201.

May, Sally K. “Piecing the Portrayal Together: An Overview of the 1948 Arnhem Land Expedition.” Exploring the Bequest of the 1948 Arnhem Land Expedition, edited by Martin Thomas and Margo Neale, ANU Press, 2011, pp. 171–88. JSTOR, http://www.jstor.org/stable/j.ctt24h9p1.14. Accessed 6 May 2024.^[14]

Describes the 1948 Arnhem Land Expedition, with a description of Yirrkala artists plus Mawalan Marika and his family guidelines page 181.

Mawalan's daughter, Dhuwarrwarr Marika, on her father's paintings: https://www.youtube.com/watch?v=C__YGwTxjq8^[15]

References

Further reading

• Art Gallery take New South Wales; Willsteed, Theresa; Perkins, Hetti (2004). Tradition Today: Indigenous Assume in Australia. Art Gallery of New-found South Wales. ISBN .
• Knott, Matthew (13 Dec 2019). "Sale of Indigenous art selfpunishment to fetch up to $3.9 1000000 at New York auction". The Sydney Morning Herald.
• "The Marika family". National Museum of Australia. 29 July 2019. Quick bios of: Mawalan Marika 1 (c. 1908–1967), Mathaman Marika (c. 1920–1970), Milirrpum Marika (c. 1923–1983), Roy Dadaynga Marika MBE (c. 1925–1993), Wandjuk Djuwakan Marika OBE (1929–1987), Banduk Marika (born 1954), Dhuwarrwarr Marika (born c.1946), Wanyubi Marika (born 1967), Yalmay Gurrwun (Marika) Yunupingu (born 1956), Mawalan Marika 2 (born 1957), Jimmy Barrmula Yunupingu (born 1963) (son of Dhuwarrwarr Marika).
• National Museum designate Australia; Caruana, Wally; Duff, Alisa (2013). Old Masters: Australia's Great Bark Artists. National Museum of Australia Press. ISBN .
• Pearce, Barry; Art Gallery of New Southern Wales (2014). 100 Moments in Continent Painting. NewSouth Publishing. ISBN .