At the same time, Wuku\u1e49 and Djambawa knew that that they wanted to show the history of bark painting and the legacy left by previous generations of artists. This was clearly part of the responsibility that Wuku\u1e49 saw in his role as curator. Speaking of the knowledge held in the old paintings, he said: \u201cIt is what our old people have given us. And here we are, we came [to the United States] with the same load on our back and returned names to the paintings.\u201d Part of researching the exhibition was showing this continuity. Wukun notes: \u201c I\u2019ve learned a lot from it because it made me think about where these paintings are from and who they belong to, from the past until today, yes indeed. Through collaborating to find out about these paintings, from long ago up to the present, it is clear now, isn\u2019t it, where these powerful paintings come from?\u201d<\/p>\n\n\n\n Telling this \u201cwhole story\u201d meant going back to July 1935, when the great Djapu\u2019 leader Wo\u014bgu Munu\u014bgurr painted his first work for anthropologist Donald Thomson. This might have given us a clear starting point and the date range from which the subtitle \u201cEight Decades of Aboriginal Australian Bark Painting from Yirrkala\u201d was derived. But translating this subtitle into Yol\u014bu Matha was not quite as straightforward. After much deliberation, Dela Munu\u014bgurr and Bulmirri Yunupingu, who have been the lead translators on the project, suggested: Waltja\u1e49 ga Waltja\u1e49buy Yol\u014buwu Miny\u2019tji Yirrkalawuy<\/em>, which translates literally as \u201cmany monsoonal rains of Yol\u014bu bark painting from Yirrkala.\u201d It was a perfect translation, capturing a seasonal rather than linear sense of time, embodying the sense that these paintings belong in an unfolding trajectory in which County is the constant. As Wuku\u1e49 notes, \u201cwhatever you change [in your art], your mind remains in your w\u00e4\u014ba<\/em>. There\u2019s nothing there that can really change.\u201d<\/p>\n","protected":false},"excerpt":{"rendered":" Back in 2015, when Djambawa Marawili first said he wanted an exhibition that told \u201cthe whole story of Yol\u014bu bark painting\u201d it immediately forced us to think about the question of time. What kind of timeline do you need to tell this \u201cwhole story\u201d? On the one hand, the answer to this question is easy. […]<\/p>\n","protected":false},"author":4,"featured_media":794,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_mi_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":""},"categories":[6,73,35],"tags":[15,23,14,53,9,10,13,54,52,12,11],"acf":[],"yoast_head":"\n![\"\"](\"https:\/\/madayin.kluge-ruhe.org\/wp-content\/uploads\/2022\/04\/DELA-1-scaled.jpg\")
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