Wanjinas by Waigan (Wagin/Waigin) Djanghara

Waigan Djanghara (1929-1996) belongs to the Beromalar moiety, whose moiety totemic birds are Jiringkun/Panar (Owlet Nightjar/Brolga). Waigan's wife, Ignatia Djanharra (1930s- 1990s), is of Buruna moiety which has Watoi/Kurongkali (White-spotted nightjar/Brolga), as moiety totems.

Waigan and Ignatia Djanghara were two of the quiet artists working at Kalumburu in the 1970-1980 period. Most of their work was relatively small and either painted on on bark or engraved on pieces of slaty rock. The couple also produced a lot of fine craft work using their detailed knowledge of traditional resources and technology. In 1979 the renowned photographer Richard Woldendorp, was commissioned by art dealer Mary Macha to record the activities of many Kimberley artists. In Ninety-eight images, Richard Woldendorp photographed the Djangharas making bark buckets, pleated-ended bark bowls, a didgeridoo, bush string and making a fire with a set of fire-sticks. No images were made of the pair painting. Waigan and Ignatia often combined their talents when producing craftworks or paintings.

The painting below is one of two paintings by Waigan that are exceptional for being of large scale and executed on canvas. In 1979 Mary Macha introduced canvas to the Kalumburu artists, and it may be that these works were produced at the workshop run by her – in terms of other works by these artists – they are outstanding depictions of Wanjina beings.

The Wanjina at left, appears round-eyed as if startled by the presence of the viewer, while that at right seems suspicious, the narrowed eyes considering the viewer as an intrusion, or possibly a threat. Both images convey the sense of cyclopean bulk and potency, and are quite different from the, much more prevalent, smaller works produced by these artists.

Using traditional techniques, first painting the background with resin fixative mixed with ochre, and then covering it with a spatter of white onmal - pigment that is sprayed from the mouth, before commencing painting the actual images. Fine stippling infills the body of the Wanjinas and also is used as an interstitial fill between the larger and smaller motifs. The later include Ungkud - Rainbow Serpents, and the birds, which possibly represent Waigan's moity totem bird, Panar, the Bustard. Other motifs are items of material culture. By the hand of the left hand Wanjina is a bark bucket with its string handle - a reflection on the importance of the role of wild honey, on not only the Wanjinas, but also of the humans who followed them. A hafted stone axe, nyarli, the prime tool for extracting honey from bee hives rests near this Wanjinas' head. the oval figures divided by a band with scalloped ends represent the heavy log shields, yuwan or jinjin, used by the Kalumburu men for both fighting and as dance regalia, and boomerangs, karrli. The name karli, indicates that boomerangs are imported items of material culture, prestigious trade goods that come into the Kalumburu area from the Fitzroy River basin to the south.

The viewer of this painting becomes the object as these powerful figures scrutinise them - Who are you? What do you want?

Kim Akerman

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