Concept Letter of Apology
Lobby for reconciliation
update: September 2010; To: Netherlands Government,
In April of the year 2009 I sent a message to Her Majesty the Queen and the Government of the Netherlands about reconciliation with the Yolngu people of NE Arnhem Land, in north Australia.
I pointed out the need to reconcile by suggesting the prevention of damage to the imago of the Netherlands, its Government and the Dutch royal family. This was mainly because of role prince Willem-Alexander of the Netherlands played since 1997 in the "Duyfken project" and the meeting of the prince and princess Máxima with Yolngu representatives at the 'first contact' commemorations of 2006.
With the hindsight of the last year and a half I've come to realize there is more between our countries that needs to be reconciled. But so far I highlighted two serious taboos. I assumed that these would be easily understood.
1 - Our first incident with the Yolngu happened in May 1623 when the Dutch ship Arnhem invaded land and sea of Yolngu communities in NE Arnhem Land.
This error can only be seen as Dutch ignorance of Yolngu civilization.
2 - The second error happened more recently with the commemoration of 400 years Dutch-Australian relations in 2006. The Netherlands did this under the banner of 'Netherlands-Australia: 400 years friendship" and our Prime Minister stated "throughout the centuries the relationship had a character of strong friendship". But 400 years of friendship -unfortunately- has never been the case. And it is to be feared that the pretention of this "friendship" has broken a very serious, traditionally even 'deadly', taboo.
I have also advised the Yolngu of my plea to resolve this old conflict around the clash at Blue Mud Bay without delay.
What many people don't seem to realize though is that tradition divides the Yolngu into two moieties (parts or groups). And that accordingly land and sea, animals, ceremonies, plants, seasons, stories, etc. are tribally divided in the two great moieties of Dhuwa and Yirritja. So I advised our government and queen of the tribal divisions in the Blue Mud Bay area, about which the following has been written:
"Gangan Outstation, which lies northwest of Blue Mud Bay, is the homeland of the Dhalwangu people and the most sacred site of the Yolngu Yirritja moiety. ...
... the area where the floodplain... flows out into the Bay is Dhuwa Djarrwark clan country. That area is often associated with the home of the lightning snake, Baraltja (or Mundukul). The Djarrwark clan is in the important yothu yindi (mother-child) relation to the Dhalwangu.
Certain marks within the Dhuwa landscape, though, indicate Yirritja presence, or as [a spokesman] says, "we can easily mix it." ... (Will Owen; 2006)
In May 2010 it seemed all pieces of the puzzle of what happened with the Dutch in 1623 had fallen into place, so I wrote my thoughts to Djalu Gurruwiwi and the Galpu clan.
"I believe this reconciliation is an integral part of the healing taking place between our two nations. ...I think it is important to know about reconciliation-protocol and who is allowed to represent the Yolngu side in this story.
Are these the traditional owners of Blue Mud Bay, the Gumatj clan, the Dilak Authority?
What is the perspective of the Galpu nation on Wititj healing in relation to the inspiration and energy behind the lobby to reconcile?
On the long term, would it be possible to work towards a ceremony with Yirratja, Dhuwa and Dutchmen together. Should this happen on a government level? ..."
While working on this concept-apology, may I express the wish that it will proof to be of benifit to a true bond of friendship .
Sincerely
Cor van Keuk;
Wititj custodian.
(Senate Meeting Eerste Kamer 200109 and 170209 / griffienrs.143078.01 and 143078.02 )
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From: The 1998 Wentworth Lecture <<<Click
by Raymattja Marika
"...The most significant book I worked on at this time
was called Balngana Mawurrku, with one of my bäapa,
my father, Dhunggala Marika. This book gave me a
new understanding about my place, my wänga. It
gave me a fresh new understanding of the world
from a Yolngu perspective. It was more like a formal
Yolngu education through attending ceremonies,
manikay. Attending these ceremonies and listening to
the language of manikay, to songlines, helped me to
grow in my own thinking about the complexities of
the content and the context of the Yolngu world view.
I found that this can happen through demonstrating
yourself in public, in front of a critical audience. I see
it all the time with my brothers and my family. These
events are part of continuing learning stages that
Yolngu go through. Yolngu have to demonstrate that
we have continued to hold on to our values, otherwise
we lose ourselves in this ever-changing world
and are accused of being a Balanda.
I will now talk about some of the histories that
have occurred round Yirrkala. Some of the stories I
have heard came from my märi, Wandjuk Marika. He
told me the Macassan traders called our land
Australia Buthamarrigi. We call them Manggatharra
or Batharripa. They had established gundirr or
marngarr trepang processing ovens. We use these
places, which are known as marngarr. The Macassans
came each year during the wet season to collect
dharripa or trepang or bêche-de-mer. People from
many Yolngu clans around the East Arnhem coast
collected trepang with the Macassans and established
an extensive network of trade with them for a period
of more than 300 years. Rice, songs, tobacco, calico,
metal, knives were some of the items of trade.
Although there were some disputes it was
generally a good working relationship, until it was
terminated by the South Australian government in
1907. Some Yolngu went for trips to Macassar and
back, and some Macassans stayed between seasons.
Children from both cultures were born, raised and
educated together. Yolngu learnt Macassan words,
songs and cultural traditions. The Macassans joined
with us in our ceremonial life and Yolngu shared
their language. There are many Macassan loan-words
in our language, such as rrupiya, money; lipalipa,
canoe; and berratha, rice. Tamarind trees, rock
designs, pottery remains and old trepang processing
sites provide testimony to the rich cultural exchange
which occurred. Yolngu possess a wealth of songs
and stories about these events, of which only a few
have been written down.
An important ceremonial leader, Dula
Ngurruwutthun, told me there were Macassans
south of Yirrkala at Gän.gan and at Biranybirany and
Gurka'wuy, another community. At Gän.gan,
Gawarrin’s homeland, white men killed almost an
entire clan. Then they rode on horseback to
Biranybirany, where they nearly wiped out my
husband’s clan, the Yarrwidi clan, the saltwater
people of the Gumatj Nation or language group.
Then they rode to Gurkawuy, further to the south,
where they nearly wiped out the Marrakulu clan, the
mother clan of the Yarrwidi clan, which included the
family of the famous artist Old Man Wanambi. We
have many stories that have been passed on to us
about expeditions like these in southern and northeast
Arnhem Land, specifically to wipe out Yolngu
and to gather their skulls, which we believe were
then sent on to museums overseas. As a result of
these atrocities, our Yolngu elders resolved to
organise themselves to defend their estates and to
protect their families in the face of unwanted
intrusion into their land.
The Japanese came into our area to harvest
trepang, bêche-de-mer, after the Macassans were
stopped at Caledon Bay, Garrthalala. At Caledon Bay
they insulted a Yolngu man of the area by throwing
trepang guts into his face. The Yolngu retaliated.
Five Japanese were killed and one escaped. While
investigating these killings, Police Constable McColl
held some Yolngu women, one of whom was married
to Dhakiyarr, of the Dhudi-Djapu clan, which is my
father’s grandmother’s clan. For this he was killed by
Dhakiyarr. Fred Grey, a trepanger who had made
friends with my mother’s father, escorted Dhakiyarr
in his boat into Darwin. Dhakiyarr was tried in court
and sentenced to death. His conviction was later
overturned in a subsequent trial, but following his
release from gaol he was never seen again..."
Raymattja Marika, from Wentworth Lecture 1998
from:
Raymattja Marika, Wentworth Lecture 1998
AIATSIS Library, S06.1/AIAS/10 1999 no1, p.3-9
“The 1998 Wentworth Lecture”
paper presented at the Wentworth Lecture.
(a318678_a.rtf)
To cite this file use :
http://www.aiatsis.gov.au/lbry/dig_prgm/wentworth/a318678_a.rtf
Ó Raymattja Marika-Munungiritj
Djalu Gurruwiwi: Wititj-custodian, Master Yirdaki-maker
"I got more power, not enough for everybody"
>>Djalu Gurruwiwi >> Yirdaki
Baraltja: This artwork is part of a special slideshow feature for the fundraising auction Ochre: Supporting Indigenous Health through Art at Mossgreen Auction House, Melbourne Australia. This auction [was] held on Tuesday 14th October, 2008 at 5.30-8.30pm. ...Ochre recognises the NAVA code of practice in acknowledging that Djambawa Marawilli is represented by Annandale Galleries Australia, Sydney. © Djambawa Marawilli and Buku-Larrngay Mulka Arts
Dear Djalu and family,
This is my Dutch invitation to Wititj healing.
I send this healing-concept first to you, as a safeguard against any wrong use of names or possible incorrect representation on my side of Yolngu culture.
It is for people here in the Netherlands interested in Yolngu culture. Also, this is an update of what’s happening in the story of Wititj in Holland.
With respect and best wishes...
CONCEPT: YOLNGU STYLE WITITJ HEALING, AN INTRODUCTION
I know Djalu Gurruwiwi as one of the senior elders of the Galpu clan. Over the last ten years or so Djalu has become world renowned as grandmaster of the yirdaki, which is the Aboriginal original didgeridoo.
He is also known internationally as a spiritual leadsman and healer, mostly through teaching the art of yirdaki to Westerners.
In 2002, a year after I met Djalu and after sixteen years in Australia, I returned to Holland, to my native town of Amsterdam. Idecided to work as a shaman...
To tradition-minded people, any Yolngu teaching by non-Yolngu may seem inappropriate. Even so, responsibility for representing, sharing and maintaining Yolngu culture was entrusted to me by Galpu Elders. And so was the experience and honour of becoming a Wititj custodian and ambassador for Aboriginal Australia in its broadest possible sense.
It is through working in the city of Amsterdam and through lobbying Yolngu reconciliation (ceremony) that Wititj healing plays a crucial role in better understanding what this magic healing has to offer. And if people look well enough it even shows new visions for the future.
For those interested, the element of 'place' where Wititj healing occurs is seen as one of five sacred parts of Yolngu culture and s ix years ago I found such a place in the west of Amsterdam, on an old farmhouse called 'Ons Genoegen' (Our Pleasure). But mindful of Yolngu tradition and philosophy, please understand that the healing at 'Ons Genoegen' is taking place in a way that we, in the West, are not commonly used to.
People feeling involved with what this project has on offer in the field of healing, reconciliation, education, cross-cultural understanding, self-expression and even leadership? In essence, Yolngu cultural business means all of these and more.
Go ahead and trust your own experiences, your own insights and your own interpretation. With WititjHealing all depends on recognizing what it is that needs to be healed or learned from this story of Wititj -manifest on a farm in Amsterdam- and the healing it has to offer.
Cor van Keuk; Wititj custodian.
Amsterdam, 27 januari 2009.
“Passing a story from one person to the next plays an important part in keeping the Yolgnu culture alive."
Turtle waters
"Muruwirri represents Rirratjiŋu Yolŋu. Whenever fights, problems going on we stand on that rock – not fall down – stand like this one here –firm." [1] |
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Muruwirri rock in Rirratjiŋu at Dhambaliya
Muruwirri rock
Muruwirri is one of many names given to the rock that stands proud in the sea dividing Mirrikiwuy (Mt Dundas) and Dhambaliya (Bremer island). Non-Yolŋu refer to it as ‘whale rock’ but for the Rirratiŋu and their måri clan, the Djambarrpuyŋu, it has many ‘deep’ names that are intoned by the ritual specialists at the culmination of appropriate ceremony. [2]
Left: Detail of reefs in Rirratjiŋu at Dhambaliya. Right: the reefs near the island Dhambaliya. Photo: Jeremy Cloake
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1. Saltwater: Yirrkala Bark Paintings of Sea Country,
Buku-Larrŋgay Mulka Centre and Jennifer Isaacs Publishing, 1999. p107
2. Adpated from Saltwater: Yirrkala Bark Paintings of Sea Country, p108 | (copyright ???) 
-The Saltwater Collection-
Yirrkala bark paintings of Sea Country
An approach to studying the
Saltwater bark painting Collection
Bäniyala
Reacting to the intrusion of large-scale mining that
surrounded the Yirrkala community—formerly a
mission—Madarrpa clan leader Wakuthi led his
family south to this Saltwater Country, Bäniyala, on
the shores of Blue Mud Bay. Madarrpa people have
always had a connection to this land where their
ancestors are buried.
Each of the paintings shows Gurrtjpi, the muchhunted
stingray of shallow Blue Mud Bay. It is a
totem for the Madarrpa people at Bäniyala. They
talk of his path of creation as he tracks back into
the bush, following a small tidal creek that exists
today. Here he bit into the ground forming several
small billabongs, still used as a source of fresh
water. Heading out to the point named Lulumu, he
became a white rock surrounded by the slow tides.
Gurrtjpi’s two eyes are now holes in the ground,
where people pick up sand and throw it towards
the rock for good luck and plenty of fish.
Artist Djambawa Marawili remembers his father fishing from bark or dugout canoes using lines of bush fibres and hardwood hooks. Yolngu people learned how to
make dugout canoes and this type of sail from
Indonesian fishermen, who visited annually from
1600 until stopped by the Australian Government
in 1907. The change of season was heralded by
the Indonesians’ sails appearing on the horizon.
The Indonesians always acknowledged Yolngu
custodianship of the sea. Yolngu people contrast that
with their continuing struggle for recognition from
the Australian legal system today.  | 
Land and sea Management History www.anu.edu.au/caepr/country/yirralka.php
Traditional owners of Australia have a long history of interweaving culture with land and sea. Now, in our own times, the Yolngu of the North are at the forefront of politically assesing heriditary rights and are fighting to have their ownership of their sea and country acknowledged under Australian law. This continuing struggle is recognised in last years' decision of the High Court of Australia, in the Blue Mud Bay case, where it was held that Aboriginal land in the Northern Territory includes exclusive rights regarding the tidal waters (from the mean high tide to the mean low tide marks) overlying Aboriginal land.
The homeland movement, a Yolngu initiative, began in north east Arnhem Land in 1972. Now many Yolngu families are back on their own land, taking care of their own lives, environment and culture. The local Yolngu people are guardians of the oldest living civilization in the world, called the dreaming.
It is believed that interactions with outsiders first occurred around the sixteenth century through trade relations with Macassan fishermen. Many of the sites central to this relationship are protected.
irralka land and sea manageme
nt program is an important development in the work of LHAI in response to traditional owners' desire to formally manage their land and sea country and tactively deal with threatso cultural and environmental values.
Baraltja
The Home of Burruttji the Lightening Serpent
Baraltja is the residence of Burrut’tji (also known as Mundukul) the lightning serpent. It is an area of flood plains that drain into northern Blue Mud Bay. It is on country belonging to the Madarrpa and denotes an area of special qualities pertaining to fertility and the mixing of waters. From Madarrpa (and Dhalwangu clan) land freshwater spreads onto the Baraltja flood plains with the onset of the Wet. A tidal creek flows into Blue Mud Bay with the freshwater flushing the brackish mix into the sea over an ever shifting sandbar (the snake manifest).
This flushing of freshwater excites Burrut’tji to stand on its tail spitting lightning in the directions from where the weather comes.
Wangupini or thunderheads are seen flicking lightning on the horizon in the deep water named Mungurru connecting with Madarrpa ancestors of the Dhiliyalyal tribe who lived at Boway Ngipangwuy further down the coast. This ancestral kinship tie is linked over sea country as well as the land and a cycle of events connected by lightning, wind and rain. The cloud is sung as femininity and fecundity, pregnant with life-giving freshwater.
Below the semi submerged serpents, the waters of Baraltja bank up. The new season waters coming down from inland cause Burrut’tji to herald the event spitting lightning into the sky and over to the horizons where the maternal cumulus cloud Wangupini stands. The influx of the freshwater into the coastal area of Baraltja excites all manner of life. Makani the queen fish races into the shore, biting into the bait fish there, the sand crab dabbling in its wake, cleaning up the morsels – a calm after the storm.
Ochre recognises the NAVA code of practice in acknowledging that Djambawa Marawilli is represented by Annandale Galleries Australia, Sydney.
© Djambawa Marawilli and Buku-Larrngay Mulka Arts 
BAYAPULA
The Saltwater Country of Bayapula is situated along Caledon Bay, half way between Blue Mud Bay and Yirrkala.
Gumatj clan people have several homeland areas affected by the same Ancestral fires carried by Bäru the crocodile as he moved north from Madarrpa clan country at Blue Mud Bay.
Stingray, dugong and turtle abound. Vast sandy areas are covered with weed that waves with the currents and tides.
Behind the beach at Caledon Bay a river runs through a paperbark swamp, emptying its fresh water into the sea at Biranybirany. The mixing of fresh and salt water is associated with fertility, and this is where Bäru the crocodile goes to breed.
Bäru the crocodile nests in the swamp area where fresh and salt water meet, a place of fertility where barramundi go to breed too. Other totems such as mantaray and hawksbill turtle live in the bay, and dugong feed on seagrass. Freshwater from inland Biranybirany flows underground and wells up from springs out in the bay. The stingrays are nuzzling these underwater wells, which have great procreative force.
Gumatj clan people say ‘I am from that water there, I am that water.’
BAYAPULA PAINTING <<<
Yirrkala
Inhabitants of the large mining town Nhulunbuy
are familiar with the lone rock that juts out of the
sea between the town and Dhambaliya, or Bremer
Island. It is known as Whale Rock to outsiders but to
the traditional owners of the land, the
Rirratji u clan, it is a place of great importance
called by many deep names which are intoned by
ritual specialists in ceremonies.
The rock appears in one form or another—at times manifested as the Ancestral whale Daymirri—in most of these paintings of Yirrkala Saltwater Country. All are distinguished by the arch-shaped sacred clan design —miny’tji— that indicate turbulent sea states.
Rirratji u clanspeople have an intimate
understanding of their maternal Saltwater
Country, and custodianship of the sacred
knowledge pertaining to it. Like all the Yolngu
paintings displayed here, they map how particular
landscapes were formed and what Ancestral
beings still affect the country.
Dreaming Gunda Muruwirri depicts the different waters surrounding the lone rock (gunda) called Muruwirri—seen and stretching between the mainland and Bremer Island. The arched bands of cross hatching around the edge of the painting and down the centre are dangerous rough seas. The yellow areas are deep under-sea spring waters that well up to the surface, causing a mushrooming but calming effect. This water originates from a sacred font, the central
circle, guarded by Muruwirri and the Ancestral king
brown snake.
Artist: Miniyawany Yunupiu; Moiety Yirritja; Clan Gumatj; Homeland Biranybirany; Saltwater Country Bayapula; Title From Biranybirany
Artist: Djambawa Marawili; Moiety: Yirritja; Clan:Madarrpa;Homeland: Bäniyala; Saltwater Country: Bäniyala; Title: Contemporary Madarrpa
Artist: Mawalan #2 Marika
Moiety: Dhuwa; Clan: Rirratji u
Homeland: Yala bara; Saltwater Country: Yirrkala Title: Gunda Muruwirri
SINGER Geoffrey Gurrumul Yunupingu: on his Aboriginal culture, the person he most admires and why he hates travelling.
As I've got older I've learnt more about Balanda (non-indigenous people) and how to trust them.
My most treasured possession is my culture.
I laugh every time I hear funny stories, like when someone does something silly or says something silly but doesn't hurt themselves.
I last cried when Dunga Ngarra (I don't know). I get sad for funerals because a lot of Yolngu die too young from health problems.
The one thing I'd change about me is to spend more time at Elcho Island. Also not tour as much.
The person I admire most is the strong Yolngu, and the leaders. Also people who respect me and what I need, not what they want.
My greatest extravagance is eating too much magpie goose or turtle, crab or oysters from my home at Elcho Island.
My favourite place on Earth is the rangi (the beach), and anywhere at Elcho Island. I like Byron Bay too, and Sandringham.
The most useful advice I ever got was to sing Yolgu songs and represent my Yolngu people, and to make sure the words are right so I properly represent not just myself but all my family, and clans.
As I've got older I've learned that sometimes I have to work for people to hear my songs properly, not just release my CD and that's it.
The thing I hate most is travelling too much. It is hard, and I am away from family. Or getting stuck in the cold. Or doing an interview. It is too hard and I don't know what's going on.
The music I'd like at my funeral would be bungul djama & manikay (ceremony music and dance).
I'll never understand... the non-indigenous world. How Balanda are thinking. Not really anyway, just a little bit.
My motto is try to sing well, and professionally every time. You never know who will be listening or how it will be broadcast. ...
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Timeline of events of the Blue Mud Bay case
Blue Mud Bay High Court decision <<<
The Blue Mud Bay case was not an isolated case brought before the High Court. Its roots reach back into the 1960s when Aboriginal people fought for rights to their land.
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