The Ḻarrakitj had its traditional use for the Yolŋu of North east Arnhem Land as an ossuary or bone container erected as a
memorial to a dead kinsman up to a decade after death. After death the body of the deceased was often ceremonially placed
on a raised platorm and left to the elements for an appropriate time. The area would then be abandoned until the next stage
of the ritual.

This took place once it was determined that the essential eternal spirit of the deceased had completed its cyclical journey to
the spring from which it had originated and would in time return again. This might be several years. Whilst the body was ‘lying
in state’ others got wind of the death, perhaps by subliminal message and made preparations to journey to the site of
mortuary. Usually enough time had elapsed for the bones of the deceased to be naturally cleansed on the platform. The
essence of the soul within the bone was made ready for final rites when other outside participants necessary for its safe
journey arrived. Ritual saw the bones of the deceased placed within the termite hollowed memorial pole for final resting.
Mortuary ritual would end with the placement of the Ḻarrakitj containing the bones standing in the bush. Over time the
ḻarrakitj and its contents would return to mother earth.

The ḻarrakitj has often been referred to as the mother’s womb. Once sedentary mission communities were established in
Arnhem Land it became impractical to abandon permanent communities and outlawed to expose corpses on platforms.
However the cosmology of the Yolŋu and the essence of ritual mortuary ceremony remains just as important. Ḻarrakitj
continue to be produced as the equivalent of headstones or to contain the personal effects of a deceased (which might be
dangerous unless removed from the living because of the emanations imbued by contact with the deceased).

A further role for this cultural form is as a fine art object and an instructional tool for younger generations. Artworks of this
nature have multiple layers of metaphor and meaning which give lessons about the connections between an individual and specific pieces of country (both land and sea), as well as the connections between various clans but also explaining the forces
that act upon and within the environment and the mechanics of a spirit’s path through existence. The knowledge referred to by
this imagery deepens in complexity and secrecy as a person progresses through a life long learning process.