It was in the wangarr, ancestral times, when the Guwak men, Munuminya and Yikawanga, siƫng under the shade of the
sacred Marawili tree, instructed the ancestral koel cuckoo Guwak to lead the Maŋgalili people to this new place they had
established for them at Djarrakpi.

Having seen the people settled in their new homeland they announced to the Maŋgalili their farewell, that they, the Guwak
men were to travel out to sea, to a place in the sky and that they would become stars which would shine out of the night sky.

So a canoe and paddles were made and their journey began by paddling down the Milngiya River which flows into the Blue Mud
Bay near Djarrakpi. In the bay, at a place of significance, strong winds developed and capsized the canoe - the men drowned.

At this place is the site of Yingalpiya, the freshwater crocodile’s nesting place. This same place is the spirit source for
Maŋgalili people. The Guwak Men, it was said, had attempts made on them to be rescued.

A special log Milkamirri or Bandumul, containing mangrove worms offered itself as assistance. Ŋoykal the ancestral king fish is
also manifest in this form. Even the rock cod they had caught for their journey offered assistance, as did Dhäla the sea
creature.

It was to no avail however as the men had destined themselves as offerings, to the night sky where they and subsequent
Maŋgalili souls are seen today in the Milky Way. These Maŋgalili souls attain their celestial position by means of possum fur
string Burrkun that connects Djarrakpi at the site of the Marawili tree to night sky. Milngiyawuy or Milngiya as the Milky Way
is also looked upon as the nesting place for the ancestral crocodiles Yingalpiya. The river was sung into the sky by these
Maŋgalili heroes - the Milky Way.

the places where it fell to the ground. From Mt. Saunders he threw his Gunyalili and named a place called Gäluru in this way.
Gurka’wuy River flows out through Trial Bay, conflicting and clashing in a turbulent unity with the incoming tidal waters from
the deep ocean. The names of the rocks here, rarely spoken, are Dundiwuy, Bamurrungu and Yilpirr.

Yolŋu of this area speak of a hole submerged under the rocks, from where bubbles are seen rising to the surface, sometimes
bursting forth with a rush. The bubbles are seen as a life force and a direct Ancestral connection for the Marrakulu. In sacred
song, Bamurruŋu, a sacred and monolithic rock in the mouth of Trial Bay lies submerged within its waters surrounded by these
fish; Buku-Duŋgulmirri or Wawurritjpal, Sea Mullet.

When the Marrakulu perform ritual dance for the events depicted in this painting participants move towards a held spear
representing the steadfastness of the rock, spliƫng the dancers who then surround the rock known as Bamurruŋu moving as
does the sea to song and rhythm of yidaki and bilma. Bamurruŋu is a spiritual focus for an alliance of clans who share idenƟty
connected with the felling of the Stringybark tree.

Wuyal the Ancestral Sugarbag Man while in Marrakulu clan country cut the sacred Wanambi (hollowed Stringybark tree)
looking for native honey. Its falling path gouged the course for the Gurka’wuy River that has flowed ever since into Trial Bay.
The hollow log’s movements in and out with the tides and currents completing the kinship connections of the various waters
are the subject of ritual song and dance of this country.

The Marrakulu sing these events (with other clans) during ceremony associated with the Wawalak myth. In other clan’s lands
these actions were repeated. These groups dance songs of honey flowing like rivers of freshwater from fonts deep in the
saltwater under the rock. The rivers belonging to these clans; the Marrakulu, Golumala, Marraŋu and Wawilak flow
(spiritually) towards this rock. This Balamumu oceanic salt water rushing into the bay creates eddies, currents and patterns
that delineate the relationship between the Djapu and Marrakulu clans. This relationship is again referred to as MäriGutharra. The maternal grandmother clan and its granddaughter. These waters are in this relationship as well. This is known
as the ‘backbone’. One of the key relationships in a complex kinship system whose reciprocal duties are most powerful. These
clans are both Dhuwa and share responsibilities for circumcising and burying each others clan members. A matriarchal
analysis of the world that governs the behaviour of both sexes equally.

Here the artist has shown native bees. These bees are the creators of the honey from these flowers. The continuum between
the environment, the art and the sacred foundation of the Marrakulu is completed when the Marrakulu dance as bees in their
ceremony elbows extended, hands clutching stringybark leaves which vibrate as wings.