Marrawuddi is owned and controlled by the Mirarr clan through their representative organisation the Gundjeihmi Aboriginal Corporation (GAC).

The Mirarr are the Traditional Owners of parts of Kakadu and Western Arnhem Land as well as the town of Jabiru, the Ranger and Jabiluka uranium deposits and the Bowali visitors centre where the Marrawuddi is located.

The Mirarr established GAC in 1995 and for many years the organisation focussed on land rights and political advocacy, dedicated to protecting Mirarr land and lives from imposed uranium mining. In the years following the success of their campaign to stop the Jabiluka uranium mine the Mirarr have expanded the focus of GAC to include social, cultural, educational and other activities to enhance the lives of Mirarr and other Aboriginal people in Kakadu. Mirarr also maintain their focus on the Ranger uranium mine which continues to operate and impact on Mirarr land.

Profits from Marrawuddi are used to fund Gundjeihmi’s dynamic local initiatives including the DjidbiDjidbi Residential College which has seen a dramatic improvement in both school attendance and educational results for Mirarr students. Other GAC projects such as the Gunbang Action Group and the Djurrubu Rangers are engaging aboriginal people across Kakadu and providing culturally appropriate options for improved health and employment.

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Baluk Arts artists Tallara Gray (Yadhaigana People – Cape York), Gillian Garvie (Wiradjuri – NSW), Beverley Meldrum (Wirangu – SA), Robert Kelly (Wathaurong – VIC), Cassie Leatham (Taungurung/Wurundjeri – VIC), and Rebecca Robinson (trawlwooolway/Koori – TAS,VIC) unite Country through stories and connect through the elements.

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Baluk Arts artists Tallara Gray (Yadhaigana People – Cape York), Gillian Garvie (Wiradjuri – NSW), Beverley Meldrum (Wirangu – SA), Robert Kelly (Wathaurong – VIC), Cassie Leatham (Taungurung/Wurundjeri – VIC), and Rebecca Robinson (trawlwooolway/Koori – TAS,VIC) unite Country through stories and connect through the elements.

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Baluk Arts artists Tallara Gray (Yadhaigana People – Cape York), Gillian Garvie (Wiradjuri – NSW), Beverley Meldrum (Wirangu – SA), Robert Kelly (Wathaurong – VIC), Cassie Leatham (Taungurung/Wurundjeri – VIC), and Rebecca Robinson (trawlwooolway/Koori – TAS,VIC) unite Country through stories and connect through the elements.

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Gillawarra Arts is a creative arts business originating from the mid north coast of NSW. Krystal Hurst is a Worimi woman who designs handmade jewellery using materials from nature, and specialises in contemporary Aboriginal artworks on canvas, murals and running workshops.  

Our pieces speak of the sky, land, rivers and sea. Old knowledge and new stories interwoven by Aboriginal women for its wearers to feel a sense of pride, connection and empowerment. Our jewellery sings our memories, language and our culture that is strong and thriving. 

"Gillawarra arts and crafts" were first founded in the 1980s on Purfleet Aboriginal Mission (previously Sunrise Station) by our relatives. 

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Marrawuddi is owned and controlled by the Mirarr clan through their representative organisation the Gundjeihmi Aboriginal Corporation (GAC).

The Mirarr are the Traditional Owners of parts of Kakadu and Western Arnhem Land as well as the town of Jabiru, the Ranger and Jabiluka uranium deposits and the Bowali visitors centre where the Marrawuddi is located.

The Mirarr established GAC in 1995 and for many years the organisation focussed on land rights and political advocacy, dedicated to protecting Mirarr land and lives from imposed uranium mining. In the years following the success of their campaign to stop the Jabiluka uranium mine the Mirarr have expanded the focus of GAC to include social, cultural, educational and other activities to enhance the lives of Mirarr and other Aboriginal people in Kakadu. Mirarr also maintain their focus on the Ranger uranium mine which continues to operate and impact on Mirarr land.

Profits from Marrawuddi are used to fund Gundjeihmi’s dynamic local initiatives including the DjidbiDjidbi Residential College which has seen a dramatic improvement in both school attendance and educational results for Mirarr students. Other GAC projects such as the Gunbang Action Group and the Djurrubu Rangers are engaging aboriginal people across Kakadu and providing culturally appropriate options for improved health and employment.

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The Art Centre

Injalak Arts is a non-profit Aboriginal-owned social enterprise. The Art Centre in Gunbalanya was officially opened in late November 1989. Prior to 1989 its origins were in a small shed used for screen printing. The building that houses the various functions of the Art Centre is long and flanked on either side by covered verandahs. The artists and weavers work on either side of the building.

Indigenous community art centres play an important role in the artistic and cultural life of traditional Aboriginal artists living in remote communities. Injalak Arts is an outstanding example of a community organisation that is 100% Aboriginal owned and delivers positive social, economic and cultural outcomes for its members.

Artists

Injalak Arts has around 200 active members – artists and weavers from Gunbalanya and surrounding outstations. Any Kunwinjku speaking person over the age of 18 is eligible for membership. Although the Arts Centre is located in Gunbalanya, it also services those members who choose to live at their outstations (homelands) thereby generating livelihoods for many individuals and families. The outstations regularly visited are Manmoyi, Mamadawerre and Kabulwarnamyo.

Brown Pandanus Dilly Bag Necklace by Selina Nadjowh, Injalak Arts

NECK80a

Small brown Pandanus Dilly bag necklace, brown handles, 

The Art Centre

Injalak Arts is a non-profit Aboriginal-owned social enterprise. The Art Centre in Gunbalanya was officially opened in late November 1989. Prior to 1989 its origins were in a small shed used for screen printing. The building that houses the various functions of the Art Centre is long and flanked on either side by covered verandahs. The artists and weavers work on either side of the building.

Indigenous community art centres play an important role in the artistic and cultural life of traditional Aboriginal artists living in remote communities. Injalak Arts is an outstanding example of a community organisation that is 100% Aboriginal owned and delivers positive social, economic and cultural outcomes for its members.

Artists

Injalak Arts has around 200 active members – artists and weavers from Gunbalanya and surrounding outstations. Any Kunwinjku speaking person over the age of 18 is eligible for membership. Although the Arts Centre is located in Gunbalanya, it also services those members who choose to live at their outstations (homelands) thereby generating livelihoods for many individuals and families. The outstations regularly visited are Manmoyi, Mamadawerre and Kabulwarnamyo.

Handmade Dark Brown Woven Pandanus Earrings

EAR120

Gillawarra Arts is a creative arts business originating from the mid north coast of NSW. Krystal Hurst is a Worimi woman who designs handmade jewellery using materials from nature, and specialises in contemporary Aboriginal artworks on canvas, murals and running workshops.  

Our pieces speak of the sky, land, rivers and sea. Old knowledge and new stories interwoven by Aboriginal women for its wearers to feel a sense of pride, connection and empowerment. Our jewellery sings our memories, language and our culture that is strong and thriving. 

"Gillawarra arts and crafts" were first founded in the 1980s on Purfleet Aboriginal Mission (previously Sunrise Station) by our relatives. 

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Gillawarra Arts is a creative arts business originating from the mid north coast of NSW. Krystal Hurst is a Worimi woman who designs handmade jewellery using materials from nature, and specialises in contemporary Aboriginal artworks on canvas, murals and running workshops.  

Our pieces speak of the sky, land, rivers and sea. Old knowledge and new stories interwoven by Aboriginal women for its wearers to feel a sense of pride, connection and empowerment. Our jewellery sings our memories, language and our culture that is strong and thriving. 

"Gillawarra arts and crafts" were first founded in the 1980s on Purfleet Aboriginal Mission (previously Sunrise Station) by our relatives. 

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The art of the Yirrkala region has been developing an appreciative audience since the township was founded as a mission in 1935. Work from Yirrkala was amongst the earliest commercial Aboriginal art marketed by Methodist Overseas Mission.

Further, the artists of Yirrkala were amongst the first Indigenous Australians to recognise the potential use of visual art as a political tool and put this into practice with the now famous Yirrkala Church Panels (on display in our museum) and Yirrkala Bark Petition (currently on display at Parliament House in Canberra) dating from 1963, also the Wukiḏi Installation in The NT Supreme Court, Darwin and the Saltwater Collection in the Australian National Maritime Museum.

When government policy shifted and self-determination came to communities in Arnhem Land, the artists saw the establishment of a community controlled art centre as critically important to further their economic independence, cultural security over sacred designs, and to maintain political and intellectual sovereignty. Yolŋu culture is based on a strong sense of connection to land and sea.

Yirrkala is ancestral land belonging to the Rirratjiŋu/Gumatj clans. Yolŋu have traded and intermarried with Macassans since c.1100-1600 AD. In 1935 when the Federal Government was considering a ‘punitive expedition’ (massacre) against the Yolŋu, Mawalan Marika invited the missionary Wilbur Chaseling to establish a mission at Yirrkala.

In the following years the leadership of the Yolŋu resisted their dispossession by: government; missionaries; potential Japanese invasion; and Bauxite miners. In addition to the Yirrkala Church Panels and Yirrkala Bark Petition, they have used their art to assert their connection to land in; the Gove Land Rights Case; the Woodward Royal Commission; the Barunga Statement; the Yirrkala Homeland Movement; the Land Rights Act (NT) 1976; the Both Ways education bilingual curriculum; and the world renowned contemporary music band Yothu Yindi.

“Under Yolŋu Law the ‘Land’ extends to include sea.”

In recent years the Garma Festival and Wukiḏi Ḻarrakitj Installations have used miny’tji to continue to rebut the myth of ‘Terra Nullius’ (that Australia was ‘unoccupied country’ before colonisation). Under Yolŋu Law the ‘Land’ extends to include sea. Both land and sea are connected in a single cycle of life for which the Yolŋu hold the songs and designs.

To demonstrate their rights and responsibilities over specific areas of both coast and sea and to protect those same marine environments from abuse by outsiders the landowners combined to make the Saltwater Collection of Yirrkala Bark Paintings of Sea Country in 1997.

The Collection of 80 bark paintings made by 47 Yolŋu artists is featured in a publication of the same name. After a national tour (1998-2001) the Saltwater Collection is now held at the Australian National Maritime Museum in Sydney. It formed part of the Yolŋu legal case for recognition of these rights. After a lengthy court case which went through every level of the court system the High Court determined in 2008 that the Yolŋu were the owners of sea estates covering Aboriginal land.

The Art Centre

Injalak Arts is a non-profit Aboriginal-owned social enterprise. The Art Centre in Gunbalanya was officially opened in late November 1989. Prior to 1989 its origins were in a small shed used for screen printing. The building that houses the various functions of the Art Centre is long and flanked on either side by covered verandahs. The artists and weavers work on either side of the building.

Indigenous community art centres play an important role in the artistic and cultural life of traditional Aboriginal artists living in remote communities. Injalak Arts is an outstanding example of a community organisation that is 100% Aboriginal owned and delivers positive social, economic and cultural outcomes for its members.

Artists

Injalak Arts has around 200 active members – artists and weavers from Gunbalanya and surrounding outstations. Any Kunwinjku speaking person over the age of 18 is eligible for membership. Although the Arts Centre is located in Gunbalanya, it also services those members who choose to live at their outstations (homelands) thereby generating livelihoods for many individuals and families. The outstations regularly visited are Manmoyi, Mamadawerre and Kabulwarnamyo.

Dilly Bag Pandanus Necklace by Priscilla, Injalak Arts

NECK150

$150

Jewellery designed by Kay Finn, Ku Arts

Launched in 2018, the Dunjiba Design jewellery project presents local culture through contemporary art and design, providing employment, skills and income to local artists.

Dunjiba artists drew inspiration from living in Dunjiba community to design and developed a range of products. The new jewellery range is part of Dunjiba Design, a social enterprise of the Dunjiba Community Council, supported by Ku Arts.

(photos courtesy Ku Arts, images used with permission)

Jewellery designed by Kay Finn, Ku Arts

Launched in 2018, the Dunjiba Design jewellery project presents local culture through contemporary art and design, providing employment, skills and income to local artists.

Dunjiba artists drew inspiration from living in Dunjiba community to design and developed a range of products. The new jewellery range is part of Dunjiba Design, a social enterprise of the Dunjiba Community Council, supported by Ku Arts.

(photos courtesy Ku Arts, images used with permission)

Kay Finn
My mother comes from Watarru in APY Lands. We been staying here in Dunjiba for a long 􀆟me, we came here with the camel
mob. My mother and father come from Pipalyatjara.
I see the people pain􀆟ng and think hey I must learn. I learned for myself. No one taught me. Seven Sisters, Minyma Tjutja, ladies
hun􀆟ng for bushtucker. I paint in pulkapa (happy) colours. I like to paint my tjurkurpa, my dreaming passed down from my
mother and father.
We go out hun􀆟ng for bush tucker, round here in Dunjiba. Maku Tree, witche􀆩y grub. When I make art it is about my trips out on
country to collect bushtucker.

Jewellery designed by Janie O'Toole, Ku Arts

Launched in 2018, the Dunjiba Design jewellery project presents local culture through contemporary art and design, providing employment, skills and income to local artists.

Dunjiba artists drew inspiration from living in Dunjiba community to design and developed a range of products. The new jewellery range is part of Dunjiba Design, a social enterprise of the Dunjiba Community Council, supported by Ku Arts.

(photos courtesy Ku Arts, images used with permission)

Jewellery designed by Kay Finn, Ku Arts

Launched in 2018, the Dunjiba Design jewellery project presents local culture through contemporary art and design, providing employment, skills and income to local artists.

Dunjiba artists drew inspiration from living in Dunjiba community to design and developed a range of products. The new jewellery range is part of Dunjiba Design, a social enterprise of the Dunjiba Community Council, supported by Ku Arts.

(photos courtesy Ku Arts, images used with permission)

This beautiful hand bush dyed silk menswear shirt from Anindilyakwa Arts is soft to the touch and wonderful to wear. Made from the secret dye recipes of the master craftswomen of Groote Eylandt, these unique pieces bring the botanical DNA and spirit of Groote Eylandt direct to your wardrobe.

Anindilyakwa Arts

Anindilyakwa women hold ancient knowledge of their country. Colours within the fabric are harvested from natural dyes from native plant life and discarded metal objects found on community.

The dying process begins with a bush trip that draws on traditional knowledge to find and collect roots, leaves, bark and berries that have always been used in traditional dyeing practices. The women carefully design each garment, binding each piece with leaves and found objects from community to place on the boil. It’s then time for a cuppa and to wait and watch the silk transform from white into a unique reflection of the land.

This garment has been rinsed but not washed, we recommend cold hand washing separately with mild non-bleaching detergent or shampoo. Do not dry clean, tumble dry, soak in hot water or bleach.

Due to the nature of the bush dyeing process, the colour of this product may transfer to other objects, we recommend avoiding contact with light coloured

This beautiful hand bush dyed silk menswear shirt from Anindilyakwa Arts is soft to the touch and wonderful to wear. Made from the secret dye recipes of the master craftswomen of Groote Eylandt, these unique pieces bring the botanical DNA and spirit of Groote Eylandt direct to your wardrobe.

Anindilyakwa Arts

Anindilyakwa women hold ancient knowledge of their country. Colours within the fabric are harvested from natural dyes from native plant life and discarded metal objects found on community.

The dying process begins with a bush trip that draws on traditional knowledge to find and collect roots, leaves, bark and berries that have always been used in traditional dyeing practices. The women carefully design each garment, binding each piece with leaves and found objects from community to place on the boil. It’s then time for a cuppa and to wait and watch the silk transform from white into a unique reflection of the land.

This garment has been rinsed but not washed, we recommend cold hand washing separately with mild non-bleaching detergent or shampoo. Do not dry clean, tumble dry, soak in hot water or bleach.

Due to the nature of the bush dyeing process, the colour of this product may transfer to other objects, we recommend avoiding contact with light coloured