📍Bungle Bungle Range in Purnululu National Park in Kimberley, Australia
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📍Bungle Bungle Range in Purnululu National Park in Kimberley, Australia
📸 Salty Wings

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Eumeralla, a war requiem for peace is a large scale operatic composition for Indigenous and non-indigenous performers, sung entirely in the ancient dialects of the Gunditjmara people. The original text by Deborah Cheetham Fraillon AO expands on the structure of the traditional Requiem Mass, and was translated into the Dhuawurd Wurrung and related dialects by Gunditjmara language custodian Vicki Couzens and Victorian based linguist Kris Eira.
for your women and snake collection, i am sharing this votive figure I saw yesterday of the Holy Mary standing on a snake biting an apple. It is probably the first time I've encountered such representation in a church
Wowww that's wild. I've never seen a statue of Mary treading on the serpent before either! Her classic beautific smile looks kind of badass when paired with that pose representing the ultimate defeat of evil. Like she's saying "nbd, just crushed evil underfoot; all in a day's work 😊"
Vulva Pilgrim Badge (14th c.) ◆ The Netherlands ~ A vulva on legs, staff in hand, off to find salvation
I love art that represents women’s vulva.
I have recently visited the Carnarvon gorge in Australia, where the Bidjara and Karingbal people sculpted hundreds of vulvas on the rock.
Below is the little piece of interpretive information that was available on site:
A woman’s story
Women are responsible for looking after some of the stories etched along this section of the sandstone wall—women’s business.
You will see engraved over and over again the motif of the human vulva. Our Elders tell the story of this design being a fertility symbol.
Important ceremonies and rituals associated with these engravings, were performed here in the Carnarvons by women.
serpent imagery belongs to women

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For #WorldSerpentDay: Manasa, the Hindu snake goddess, trio of late 19th/early 20th c. Indian images:
1. Manasa, The Snake Goddess c. 1890, Kalighat watercolor, graphite, ink, and tin on paper Cleveland Museum of Art
2. "Manasa, goddess presiding over snakes." c.1895, Calcutta (Kolkata) color lithograph/popular print British Museum
3. Manasa, The Snake Goddess c. 1920, West Bengal by Jamini Roy (Indian, 1887–1972) watercolor painting, gouache on paper San Diego Museum of Art
Ornament in the Form of a Coiled Snake Chinese late 11th–10th century BCE
SLAM
ARTWORK
Unknown Craftsmen
Kangaroo, c.1845
Adnyamathanha People Shield, c.1930
Emu, c.1930
Art Gallery of South Australia
What I connect with…
The curation of this display is beautiful allowing the minimalist forms of these objects to be the hero here. Fantastic.
Yaritji Young (1956) APY Lands South Australia
Tjala Tjukurpa I-IV (2025)
Tjala Tjukurpa (2026)
exhibited: Art Gallery of New South Wales, Sydney
“Many people are afraid of having large desires. Desiring something is a journey of getting deeply vulnerable and incredibly uncomfortable. When we desire something, we are revealing an aspect of us that is tender and lives inside our body. But often that thing we really desire, we are also deeply afraid of experiencing. There is this dissonance between what we really desire and what we are willing to trust that we can have, own, or be. Dripping with desire for something different and uncommon requires masterfully giving death to all the parts of you that are easily distracted and thereby blocking the desire from manifesting. Because when you meet your desire, you actually get to know your true self and honor your spirit. Likewise, placing your attention on the people, places, or things that aren’t serving, just so you can avoid doing the work to meet your desires, is kind of betrayal of your soul delaying your evolution. Too much time wasted on wishing and being distracted and not enough allocated towards following through.”
— India Ame’ye, Author

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Tahuri, Ngahuia Te Awekotuku. 1993.
Fabric designed by Eunice Napanangka Jack.
Eunice's paintings are interpretations of her country near Wilkinkarra / Winparrku. She uses layers of colour to build up a vision of the bush flowers and grasses. Amongst this landscape Eunice's personal stories are told... the travelling of her tjukurrpa (the bilby) and the people who once lived in the area. [X]
Petroglyphs of Sikachi-Alyan, Nanaian village
Deer friends thousands of years apart
Elk-figure from Åskollen, Drammen, Norway.
Petroglyph of Sikachi-Alyan under the snow
This is such a cool thing found in a lot of Indigenous art in Australia - it’s often called X-Ray Art! The tradition is at least 4,000 years old and continues to the present day. You’ll often find the figure is depicted in white pigment on a black silhouette, while their internal organs are depicted in reds and yellows.
And one cool thing is, because this is a living tradition you can see it just about everywhere in Australia, not only at ancient sacred sites or in museums.
Image 1: Ancient rock art from Arnhem Land
Image 2: Modern artwork by students of the Certificate III in Aboriginal and/or Torres Strait Islander Cultural Arts (nationally accreddited qualification CUA30520) at TAFE NSW Eora.
Mother And Child
7th July 1956: A mother holding her baby girl at the reserve where they live in Siwundula, Rhodesia
Photo by Bert Hardy

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c. 1960s-1970s
Ningura Napurrula (c.1938 – 2013) was a Pintupi-speaking Indigenous Australian artist from the Western Desert, whose work was internationally acclaimed. Her works included a site-specific commission for the ceiling of the Musée du Quai Branly in Paris, as well as appearing on an Australian postage stamp.
https://en.wikipedia.org/wiki/Ningura_Napurrula