Wawalag

Template:Short description Template:Distinguish Template:Use dmy dates Template:Use Australian English Template:Infobox mythical creature The Wawalag sisters, also written as Wauwaluk Wawilak Waggilak, Wagilag, or Wawalik, are ancestral creator beings whose story is part of widespread sacred rituals in the Aboriginal culture from Arnhem land, Northern Territory, Australia.

The story takes place in Dreamtime, a period of time in Aboriginal belief where ancestral beings created the land as well as the social and linguistic structures in it. The sisters are said to have helped draw linguistic and social differences amongst the clans in Arnhem Land, but the ceremonies associated with their stories create cultural unity.

According to the story, the sisters were travelling to the Arafura Sea, but had to stop as the elder sister was about to have a baby and needed to rest. Later on, the elder sister goes in the river to bathe with her child and the smell of afterbirth blood awakens Yulunggur, the Rainbow Serpent, who then comes out of its waterhole and swallows both sisters and the baby.

An understanding of a common narrative was developed through field-research by archaeologists such as Catherine Berndt, Lloyd Warner, and Ronald Berndt during the mid-1990s. Since then there has been an increase in the representation of the story through Aboriginal artwork that attempts to show the complexity of the story, and how it cannot be limited to the western idea of chronological storytelling.

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NarrativeEdit

The story of the Wawalag (Wauwaluk,<ref>Template:Cite book</ref> Wawilak,<ref>Template:Citation</ref><ref name=":2" /> Waggilak,<ref>Template:Citation</ref> Wagilag,<ref name=ng1>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref name=ng2>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Wawalik)<ref name=":3"/> sisters takes place in Dreamtime, a period of time in Aboriginal belief where ancestral beings created the land as well as the social and linguistic structures in it. The sisters are said to have helped draw linguistic and social differences amongst the clans in Arnhem Land, but the ceremonies associated with their stories create cultural unity.<ref name=":3">Template:Cite book</ref> The story varies across the different linguistic regions in Arnhem land, but they all share a similar pattern that explains the origins of the Djungguwan, Gunabibi and Ulmark rituals, three sacred ceremonies associated with fertility, marriage and age-grading.<ref name=":0" /> During these ceremonies each clan reveals more details about their version of the story through songs, dances and paintings; but access to these rituals is usually limited to initiated Dua males only.<ref name=":2">Film Australia, 2006. Background Material. Ceremony – The Djungguwan of Northeast Arnhem Land. [online] Film Australia National Interest Program. Available at: http://filmaustraliaceremony.com.au/pdf/background.pdf </ref>

An understanding of a common narrative was developed through field-research by archaeologists such as Catherine Berndt, Lloyd Warner and Ronald Berndt during the mid-1990s.<ref name=":6">Template:Cite journal</ref>

The myth tends to be told as a group of related events rather than a continuous narrative that follows a linear structure.<ref name=":3" /><ref name=":5" /><ref name=":9">1966-1972. Field Museum Of Natural History Bulletin. [Bulletin] University of Illinois Urbana-Champaign, biodiversity, fieldiana. Chicago. https://archive.org/details/bulletin43fiel/page/n1/mode/2up</ref>

The storylineEdit

It is said that the sisters were travelling from the south of Arnhem Land to the Arafura Sea, walking only through territory of Dua moiety.<ref name=":7" /><ref name=":2" /> They gathered plants and animals along the way to prepare and eat later.<ref name=":5" /><ref name=":4" /> They stop to rest and set camp near the Mirrirmina waterhole where the elder sister gives birth.<ref name=":3" /> While the younger sister prepared a fire to cook the food they had gathered, the elder sister takes the baby near the water to bathe him.<ref name=":5" /> Some of the residual afterbirth blood goes in the waterhole where Yurlunggur, the rainbow serpent, resides and attracts its attention.<ref name=":4" /><ref name=":2" /> The food the younger sister was preparing comes back to life and crawls away from the fire and into the waterhole.<ref name=":5" /><ref>Dussart, F, Charlesworth, M, & Morphy, H 2016, Aboriginal Religions in Australia : An Anthology of Recent Writings , 1st ed., Taylor and Francis, London, {{#invoke:doi|main}}</ref> The serpent removes a rock that was lying at the bottom of the well and throws it onto the land, the well starts filling up with more water and the land begins to flood.<ref name=":3" /> A dark cloud forms on top of where the sisters had set camp and a thunderstorm begins.<ref name=":0" /> Unaware that it was the snake causing the thunderstorm and the flooding, they build a hut to protect themselves.<ref name=":4">Template:Citation</ref><ref name=":5">{{#invoke:citation/CS1|citation |CitationClass=web }} A study guide to accompany {{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref name=":1" />

When the sisters see Yurlunggur crawl out of its waterhole, they start singing the sacred songs, which are now part of the Djungguan, Ulmark, and Gunabibi ceremonies, in an attempt to keep the snake away.<ref name=":0" /><ref name=":3" /> They continue to sing and dance, taking turns until the storm appears to ease, exhausted the sister seek refuge in the hut where they fall asleep.<ref name=":5" /> The serpent enters the hut and swallows both sisters and the baby, then it rises up to the sky and proceeds to finish singing the songs the sister were singing.<ref name=":3" /><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

After swallowing the sisters and the baby, Yurlunggur and other totemic snakes gather together to tell one another what they had eaten.<ref name=":1" /> The snakes realise that they were not speaking the same dialect but despite this they could still communicate using the sacred songs. At first, Yulunggur tries to hide that he/she had eaten the sisters and their baby but he/she, feeling unwell, admits the truth and regurgitates them.<ref name=":4" /><ref name=":2" /> The serpent swallows and regurgitates them again, and the third time he/she swallows them and takes them back to Wawilak country where he spits out the two sisters which then turn to stone<ref name=":3" />

Regional variationsEdit

Each clan of Dua moiety has its own version of the story as the songs, dances and painting used to tell the story changes according to the relationship the ancestral beings had with the clan's land.<ref name=":3" /> The most common differences amongst the various interpretations are the places in which the sisters camped and the combination of plants and animals they gathered along the way.<ref name=":4" /> This is determined by the geographical location of a clan, as these details are often changed to make it more relatable to their context by using the animals and territory they are familiar with.<ref name=":1" /> The group of events that each clan has access to or ownership of also varies, meaning that the more clans a person is affiliated to, the more knowledge about the story they will have. People affiliated to the Marrakulu clan country, for example, have knowledge that focuses on the journey of the sisters from Nilitji to Guaka'wuy, where it is said that they encounter the first ancestral people of Australia, also known as Djuwany people.<ref name=":2" />

Characteristics and associationsEdit

The sisters were from Ngukurr and they were part of the Wawalak clan which belongs to the Dua moiety, one of the many Australian Aboriginal kinship groups of the Yolngu people.<ref name=":7">Template:Cite book</ref><ref name=":5" /> Most commonly, the elder sister, Waimariwi, is pregnant while the younger one, Boaliri, is going through early puberty.<ref name=":4" /> In other versions, the younger sister is pregnant while the elder sister already has a baby that is around two to three years old. It is unclear what gender the baby is as it is addressed as both male and female. They were creation beings who travelled through Arnhem Land performing song and dance cycles that revealed, for the first time, the names of the places they were walking through and the plants and animals they gathered along the way.<ref name=":3" /><ref name=":10">Template:Cite journal</ref><ref name=":2" /> Because of this, they are associated with the development of moieties and language in Arnhem Land.

MoietiesEdit

The myth is closely associated with the importance of moieties and the avoidance practices that go along with them.<ref name=":2" /><ref name=":7" /> In Arnhem Land, the Yolngu clans are divided into two moieties, Dua, also known as Dhuwa, and Yirritja.<ref name=":0" /><ref name=":3" /> According to the story, the sisters only travel through Dua territory, meaning that everything they encountered also share the same moiety.<ref name=":8">Template:Cite journal</ref> In some versions of the story, there is a strong focus on the pregnancy being a result of an incestuous relationship between the elder sister and a Dua clansmen; while they may not be directly related, they share the same moiety, which is why the act is frowned upon.<ref name=":4" /><ref name=":8" /> When the baby is born, the sisters encounter for the first time something that does not belong to the Dhua moiety, as children take the opposite moiety from their mother's, making the baby Yirritja.<ref name=":3" />

Similarly, the Rainbow Serpent swallowing the sisters is also seen as an act of incest, as the serpent is also of Dua moiety.<ref name=":3" /> While it is unclear if Yulunggur, the serpent, is male or female because it is often referred to as both, the encounter between he/she and the sisters is often interpreted as a symbolism of sex.<ref name=":8" /><ref name=":0" />

LanguageEdit

The story is also associated with the origin of linguistic differences in Arnhem Land. During their journey, the sisters were singing and naming the different plants and animals they were gathering as well as the territories they were passing through.<ref name=":2" /><ref name=":1" /><ref name=":8" /> They do this by using a range of dialects including Djaun, Rainbarngo, Djimba, Wawilak, and Liaalaomir.<ref name=":3" /> The emergence of linguistic differences is mainly addressed at the end of the story, when Yulunggur gathers with the other totemic serpents and realises that they speak different dialects.<ref name=":8" /><ref name=":7" />

Role in traditional cultureEdit

Rituals and ceremoniesEdit

The story of these ancestral beings forms the basis of sacred rituals that are widespread across Arnhem Land.<ref name=":0">Template:Cite journal</ref><ref name=":1">Template:Cite journal</ref> The story of the sisters embody what the clans consider their religious law and it is traditionally told through paintings, sculptures, song and dance cycles.<ref name=":1" /><ref name=":2" /> These sacred laws, also referred to as madayin, are specific to each clan and they are taught during three ceremonies.<ref name=":1" /><ref name=":2" /> Because of the sacred nature of these rituals, there is a restricted access to them and a limited understanding of the knowledge shared during them.

Djungguwan is considered the initiation ritual when young boys from the Dua moiety are circumcised and introduced to the cultural laws of their clan through the story of the sisters.<ref name=":1" /><ref name=":2" /> In the narrative, the gender of the babies is ambiguous, sometimes they are referred to as sons or daughters, because they are yet to be circumcised.<ref name=":3" /> The removal of the foreskin marks the separation of what is considered the 'female part of male infants'<ref name=":3" /> Dua men and women come together to perform dance and song cycles which represent the snake awakening when it smelled the blood and exited the waterhole to make its way to the sisters’ hut.<ref name=":1" /> In 1966 footage of the ceremony was captured, parts of the ritual were not shown as they are only accessible for those taking part in the ritual or initiated Dua men.<ref name=":2" />

Gunabibi is a fertility ritual that is done during dry season; the song and dance cycles focus on recreating the part of the story where the land was flooding because of the rain.<ref name=":1" /> The transition from dry season to wet is often seen as a symbol of fertility in the story, making this the main focus of this ritual.<ref name=":10" /> For weeks, both men and women perform together non-sacred songs until the bullroarer is turned, representing the voice of Yurlunggur.<ref name=":1" />

Ulmark ceremony, also known as Ngurlmak, is the final ceremony and while it involves other myths, it "re-emphasizes the fertility elements and the bisexual symbolism already present in the first two" ceremonies.<ref name=":1" />

These rituals belong to the Dhua moiety which means that the clans affiliated to it are the owners and custodians of the knowledge shared during them. However, clans of the Yirritja moiety are involved during some parts of these rituals<ref name=":3" />

Totems and paintingsEdit

During these rituals, wooden sculptures and bark paintings are used as mnemonic devices to tell parts of the story and or represent the sisters.<ref name=":9" /><ref name=":8" /> Some of these objects are considered sacred and can only be accessed and made by a select group of men.<ref name=":0" /><ref name=":9" /> What limits how public the display of these objects can be is the ceremonial context not the design itself.<ref name=":2" /> The process behind making the wood-cravings is lengthy, a lot of detail goes into the totemic painting as the specific pattern and colours used is what symbolises the connection with the ancestral being.<ref name=":0" /> These painted designs can be used and adapted to other media, such as bark painting, sand sculpture, body painting, etc.<ref name=":2" /> Because the story varies among clans depending on their geographical origin, the design used also changes to fit their interpretation.<ref name=":9" /><ref name=":2" />

Sacred sitesEdit

Some of the locations mentioned in the story are considered ceremonial grounds while others have become sacred sites that cannot be visited.<ref name=":5" /> For example, the Mirrimina waterhole, which is where the sisters last camped before being swallowed by the serpent, can only be visited by elder clansmen.<ref name=":7" /> The Liaalaomir, Gunabibi and Ulmark dancing grounds, which according to the story were made by the impact of Yurlunggur falling sick to the ground after swallowing the sisters and their babies, are considered sacred territory where ceremonies are held.<ref name=":3" />

Modern art and representationEdit

Since the late 1990s there has been a shift in the way knowledge about the story is shared, making it more accessible to people outside of the Indigenous community from Arnhem Land, creating a better understanding of Aboriginal culture.<ref name=":6" /> There are still strong restrictions as to what type of knowledge can be shared, and the design and patterns used in the artistic representation of the story require pre-existing knowledge of the context to be fully understood; this helps maintain certain aspects private.<ref name=":9" /> Artists will often accompany their work with a brief description of the story but will avoid going into detail to respect the parts of the story that are considered sacred.<ref name=":6" />

The exhibition The Painters of the Wagilag Sisters story 1937-1997 was an exhibition of the work of more than 100 Aboriginal artists<ref name=":6" /> held at the National Gallery of Australia in Canberra.<ref>Template:Cite book Excerpt</ref> It was curated by Nigel Lendon and Tim Bonyhady.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Artists represented in the exhibition included:

Mawalan Marika, prominent artist and senior member of the Rirratjingu clan, who was also custodian of Djang'kawu stories and ceremonies<ref>{{#invoke:citation/CS1|citation

|CitationClass=web }}</ref>

Ramingining artist Philip Gudthaykudthay (aka "Pussycat")<ref name=agnswpg>{{#invoke:citation/CS1|citation

|CitationClass=web }}</ref><ref name=npgpg>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

ReferencesEdit

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