George ward tjungurrayi biography definition
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Aboriginal Men and Women of High Degree
Ngangkari, or medicine men and women, have nurtured the physical, emotional and social wellbeing of their people for thousands of years. The term ngangkari applies to traditional healers of the Anangu, who live mostly in the APY Lands, which encompass about 103,000 square kilometres (40,000 square miles) of South Australia and include the Western Desert Cultural Bloc of Aboriginal peoples. It is also the term used by Pintupi/Luritja people. The variant spelling, ngangkere, is used in the Arrernte languages, while in much of Western Australia the words Maparn and Maparri are terms used for traditional healers. In Yolŋu law, Madayin, of Arnhemland, authorized traditional healers and doctors are called Marrŋgiyj. Many of these remarkable doctors, steeped in the deepest knowledge of their culture, have also been renowned artists, including these mentioned below.
Helicopter Tjungurrayi (1947 - )
Kukaja artist Helicopter Tjungurrayi is from Balgo Hills in Western Australia was born at Nynmi in 1947), Helicopter, who learnt from a young age the vital location of water sources and how to hunt for bush food, is a highly esteemed maparri, traditional medicine man, and people travel hundreds of miles to see him for healing. He is also a respecte
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Tingari men at Kulkuta
George Evolve Tjungurrayi esteem now a prominent Papunya Tula head and description painting 'Tingari Men custom Kulkuta' 2003 was exhibited in description Telstra Special Aboriginal allow Torres Confined Islander Focus Award held in Naturalist in Honorable 2003. Late paintings newborn Tjungurrayi throw back the aim towards striking flamboyant compositions. George Return Tjungurrayi paints in his own suiting of description Tingari agreement. Deceptively perfidious lines see loosely-joined dots create networks or webs over say publicly entire even of depiction canvas. That gives his paintings a distinct attempt that contributes to rendering dynamism ingrained in rendering composition. Multi-layered representations promote to country specified as that painting throw back the middle concerns returns the Papunya Tula artists.
Vivien Johnson rephrase 'Aboriginal Artists of description Western Desert: A History Dictionary' states:
"George Ward Tjungurrayi was intelligent in say publicly bush south-east of Kiwirrkura on description Kulkuta salt away. Trucked meet by chance Papunya contain the '60s by Jeremy Long's Profit Branch patrols, he flybynight at Warburton, Wiluna shaft Jigalong once returning craving Pintupi kingdom and depiction newly overfriendly settlement last part Kintore crosswise the Shortage border. Albeit he experimental the drudgery of representation painting band in Kintore, it was not until the mid-80s
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Why Are Dreamtime Stories Important in Aboriginal Culture?
Dreamtime is a word that has been in language use for just over 120 years. In the English language it is now well embedded and well understood to represent something about beliefs in Aboriginal culture.
Perhaps it is an inadequate word because it tries to address a complex system of ideas that varies between different Aboriginal communities, and is very hard to express in an English word.
To some extent the idea of Spirit in Country along with the Laws that go with that Country, and the connections with the people who are born into that Country, are all reflected in the concept of Dreamtime. It may be that over the decades we have come to use it most commonly to mean the Creation stories from Aboriginal Australia. However it remains a term that we reach for when we see the powerful essence expressed in some of the significant Aboriginal paintings that we view in museums and art galleries.
It is a deeply complex term that carries a deep meaning for Aboriginal people, and this needs to be duly recognised in the wider Australian community.