Animals in Aboriginal Art — Meaning, Story and Country
In Aboriginal art, animals are rarely depicted as simple representations of the natural world. Each creature—whether a crocodile, kangaroo, or even a mosquito—carries layered meanings connected to Dreamtime stories, ancestral journeys, and specific places within Country.
In Arnhem Land, for example, a crocodile painted on bark is often not just an animal, but Baru, the ancestral fire-bringer. These images record legendary journeys and events, preserved through a unified system of song, ceremony, and art. What appears to be a natural subject is, in fact, a visual expression of law, knowledge, and identity.
The intricate patterns within each animal can be equally significant. Far from decorative, they can encode information about land, clan, and sacred sites—knowledge traditionally passed down through initiation and ceremony. To the uninitiated eye, these designs are beautiful; to those with cultural authority, they can be precise and meaningful. In aboriginal dot art the animals presence is often only depicted by aboriginal symbols depicting the track of the animal related to that dream time story or ceremony.
This composite image of Aboriginal animals in art draws inspiration from the Aboriginal bark painting traditions of western Arnhem Land, particularly the Kunwinjku artists whose works were sold through the Oenpelli Mission during the mid-20th century. The animals depicted—including the kangaroo, crocodile, snake, turtle, echidna, and barramundi—reflect subjects commonly painted by renowned Arnhem Land artists such as Dick Murrumurru Yirawala and Lofty Bardayal Nadjamerrek. Rendered in an ochre palette with fine linework the composition echoes the visual language of early Oenpelli bark paintings, which helped introduce Aboriginal animal imagery and X-ray art traditions to collectors, galleries, and museums around the world.
What Do Animals Mean in Aboriginal Art?
In Aboriginal art, animals usually represent either Dreaming stories (Ancestral beings) or food sources connected to Country. While they may appear naturalistic, their meaning depends on the story, place, and cultural context in which they are painted.
A crocodile, for example, is often more than just an animal. In bark paintings from Arnhem Land, particularly those associated with Yolngu artists such as Yunupingu or Narritjin, it frequently represents Baru, the ancestral fire-bringer. These images record snapshots of journeys, events, and ceremonial knowledge, preserved through song, dance, and art.
However, not every animal carries a sacred narrative. In some contexts, a crocodile may simply refer to the animal as a source of food or part of the local environment. The meaning is determined not by the subject alone, but by its connection to Country and clan knowledge.
The echidna offers another example. It may be depicted as Ngarrbek, an ancestral figure whose battle with Ngalmangiyi left his body marked by spears. In this form, the animal becomes a visual record of story and law, rather than a simple representation of wildlife.
In this way, animals in Aboriginal art operate on multiple levels—at once real, symbolic, and ceremonial. To an untrained eye, they are animals; to those with cultural authority, they are encoded knowledge tied to land, identity, and tradition.
Why Animals Are Central to Aboriginal Culture
Animals are central to Aboriginal culture because they carry story, law, and survival knowledge, all of which are expressed through art.
Traditionally, Aboriginal knowledge was not written down but passed through song, ceremony, dance, and painting. Song, in particular, is a precise way of preserving information across generations. When combined with visual art, this creates a powerful system for recording ancestral stories, moral codes, and connections to Country—with animals often at the centre of these narratives.
Animals also play a practical role. Aboriginal people were highly skilled hunters, and deep knowledge of animal behaviour was essential to survival. This knowledge was taught through story and reinforced through art. Understanding the animal—how it moves, where it lives, when it can be hunted—was critical. Quite simply, if you did not catch it, you did not eat.
In this way, animals are not just subjects in Aboriginal art. They are vehicles of knowledge, linking culture, survival, and spirituality into a single, enduring system.
A famous example of this is the Thylacine or Tasmanian Tiger. A Tasmanian tiger appears in rock art in the Pilbara in Northern Australia. It went extinct in this area eleven thousand years ago at the end of the last ice age.
A Long History of Aboriginal Animal Art
Some of the oldest surviving artworks in the world are Aboriginal depictions of animals, painted and engraved across the Aboriginal Rock Art shelters of Australia over tens of thousands of years. These images are not merely decorative; they form part of a continuous visual tradition through which knowledge has been preserved across generations.
Archaeological evidence places Aboriginal rock art at over 20,000 years old, with many sites believed to be far older. Among the most compelling examples are images of animals that no longer exist in certain regions. The Thylacine (Tasmanian Tiger), for instance, appears in Burrup rock art in the Pilbara of Western Australia—despite having disappeared from mainland Australia more than 3,000 years ago. Such depictions provide rare visual records of ecological history, as well as insight into the longevity of Aboriginal knowledge systems.
These works demonstrate that animals have always occupied a central place in Aboriginal life—not only as sources of food, but as subjects of story, law, and identity. The continuity from ancient rock art to contemporary bark painting is striking. While styles and materials have evolved, the underlying purpose remains consistent: to record and transmit knowledge through image.
Common Animals in Aboriginal Art and Their Meanings
Kangaroo in Aboriginal Art
As with all animals in aboriginal art the meaning of a kangaroo depends on the Dream time story, Country, and cultural knowledge behind the image—not the animal alone.
In Central Australia, the presence of the mala hare wallaby is depicted by its tracks, which are a symbol or visual cue in western desert art be it a sand mosaic or an early papunya painting. These tracks form part of a ceremonial narrative in which the animal is a totemic being, embedded within story, law, and ritual practice of initiates. Here, the animal is depicted in relation to other symbols as a part of a larger narrative
Mala Hare Wallaby ceremony by Johnny Warrangkula
By contrast, in the bark painting traditions of western Arnhem Land, kangaroos are typically rendered in X-ray style, revealing internal structure and emphasising knowledge rather than surface appearance. These images most often relate to the animal as a key food source—a reliable and highly valued form of protein in country where food was always welcome. The emphasis is on understanding behaviour: how the animal moves, where it feeds, and how it may be successfully hunted.
Such knowledge was essential. It was passed down through observation, story, and visual representation, forming part of a broader system in which art functioned as both instruction and record. To depict the kangaroo was, in effect, to preserve the knowledge required to find it, hunt it, and sustain life.
At times, however, the kangaroo carries a more specific narrative role. In certain western Arnhem Land compositions, the presence of a small human like figure as a hunter poised with a spear—signals that the animal is not generic, but a part an illustration from a particular story. In one such dream time story about a mimih, a hunter tracks a kangaroo which leads him to a Mimih spirits who has killed it before he had the chance and where he is nearly seduced into remaining with the mimih and, forgetting his obligations to his pregnant wife. In this context, the kangaroo becomes a narrative agent, guiding the events of the story and reinforcing moral and social law.
Opposite artwork by Dick Murrumurru
Turtle in Aboriginal Art
In western Arnhem Land, the turtle may at times be understood as Ngalmangiyi, a figure whose identity is preserved through local narrative and ceremonial knowledge. As with many animals in this region, the turtle is not always a simple depiction of fauna, but can represent a specific being within a story tradition.
In one such account, Ngalmangiyi is involved in a dramatic conflict with the echidna spirit. During this encounter, he is struck with a stone grinding mortar—an event that explains the turtle’s enduring hard shell. This narrative functions as explanatory traditions, linking the physical characteristics of animals to ancestral events while reinforcing cultural law and knowledge.
Depictions of turtles by artists such as Garrawin Gumana may also carry more specific narrative associations. In certain interpretations, the turtle is connected to the healing of the ancestral figure Laintjun, a dream time hero whose body is described as marked with diamond forms.
The diamond motifs seen within the turtle’s design can therefore be read as a visual reference to Laintjun, embedding another layer of meaning within the image.
However, as with all animals in Aboriginal art, meaning remains context-dependent. In other works, the turtle may simply refer to an important food source, particularly in coastal and riverine environments and coastal communities where it forms part of a broader system of seasonal knowledge and subsistence.
This turtle is in Groote Eylandt style and is a totem meaning some members of a clan may eat it but it is strictly prohibited to others depending on their moiety.
In this way, the turtle other aboriginal art animals moves fluidly between story, symbolism, and survival, its meaning shaped not by form alone, but by the deeper cultural framework in which it is depicted.
Crocodile in Aboriginal Art
There are two principal types of crocodile in northern Australia, and this distinction often carries through into Aboriginal art and meaning.
The smaller freshwater crocodile is typically understood as a food source. Recognisable by its long, narrow snout, it inhabits inland rivers and billabongs and is not generally aggressive toward people. In many bark paintings, particularly from western Arnhem Land, this crocodile is associated with subsistence and ecological knowledge—its depiction reflecting an understanding of habitat, behaviour, and seasonal availability.
By contrast, the larger saltwater crocodile—Saltwater crocodile—often carries far deeper ceremonial and ancestral significance. In Yolŋu tradition, it is closely associated with Baru, the fire-bringer, whose story explains both the origin of fire and the distinctive markings on the crocodile’s skin. In this bark painting by Mawalan Marika the Crocodile Baru is part of a larger composition explaining the formation of the milky way and other constilations.
In Western Arnhemland the saltwater crocodile called Namanjwarre is the protector of the sacred objects of the Mardayin ceremony. The crocodile Namanjwarre would devour anyone who transgressed from the correct ceremonial protocol.
The treatment of the infill of his crocodile is the same used on Mardayin ceremonial objects. Mardayin objects decorated with the same bright patterns of crosshatching and dotted lines. Mardayin objects are secret sacred. The use of the same design within the crocodile shows the interconnection of the crocodile and the Mardayin ceremony.
Possum in Aboriginal Art
In the bark painting traditions of Yirrkala, the possum is often connected to Marŋu (Marngu), a presence within a possum Dreaming narrative held by Yolŋu clans.
Here, the possum is not simply an animal but part of a wangarr (ancestral) system, where beings travelled across Country, creating sites and establishing law. Its meaning is tied to place, ceremony, and clan ownership.
Possum imagery is also linked to the Possum String (Marawili Tree) story, where ancestral beings carry a string made from possum fur. This string acts as both a ceremonial object and a pathway, connecting important sites and knowledge.
Fish in Aboriginal Art
In the bark painting traditions of Groote Eylandt, fish are often far more than representations of marine life. Depictions of the sawfish, manta ray, and shovel-nosed shark relate to the Three Alawudawarra, ancestral beings who travelled across Country and created the Angurugu River on the island’s western coast.
These beings are known as Yukurrirridangwa (the sawfish), Dumarnindangwa (the manta ray), and Manggabaramerra (the shovel-nosed shark). In this context, each species is not simply an fish, but a specific ancestral presence, embedded within a creation narrative that explains the formation of landscape and water systems.
In north-east Arnhem Land, particularly around Yirrkala, the barramundi is associated with the ancestral figure Laintjun, who is said to have begun as a spirit barramundi before transforming into a man and spreading law among the people. In this context, the fish is not simply a species but an ancestral origin form.
Further west, in the traditions of western Arnhem Land, the barramundi can also function as a totemic animal, tied to specific clan and moiety systems. For certain groups, this relationship carries clear obligations, including restrictions on consumption. The barramundi, therefore, exists not only as a food source but as a marker of identity and law, with its use governed by inherited cultural responsibilities.
As with many animals in Aboriginal art, the barramundi or other fish moves between story, ceremony, and subsistence, its meaning shaped by the particular cultural framework in which it appears.
Emu in aboriginal art
In western Arnhem Land, emu (Ngurrurdu) is understood as the grandmother of all bird species, an ancestral being whose story explains both the origins and characteristics of birds. Her narrative is closely associated with the Kunabibbi ceremony, where themes of creation, transformation, and law are expressed through song, performance, and art.
According to Yirawala, Ngurrurdu was once greedy, refusing to share food with the other birds. In response, the smaller birds enlisted their best hunter, Wirriwirriyak—the Black-faced Cuckoo-shrike—to kill a kangaroo for them. Though injured, he was healed by the other birds, and in the process, markings from the lanced wound spread across them, explaining the distinctive colours seen in bird species today. After successfully hunting the kangaroo, the birds deceived Ngurrurdu, cooked the meat, and escaped with it. Overcome with grief and anger, Ngurrurdu swallowed the cooking stones and her digging stick, transforming her body—these elements becoming her internal organs, elongated neck, and the inflatable throat pouch used in the emu’s resonant call.
This narrative operates on multiple levels. It explains the physical forms, markings, and behaviours of birds, while also reinforcing an important cultural principle: the obligation to share food within the group. As with many ancestral accounts, it is both an origin story and a moral framework embedded within law.
Other Animals in Aboriginal Art
Echidna (Ngarrbek) in Aboriginal Art
Ngarrbek the Echidna is associated with a powerful ancestral narrative in which he engages in a legendary battle with Ngalmangiyi the Turtle. According to this story, Ngarrbek was struck repeatedly with spears or arrows during the conflict. These weapons became embedded in his body, transforming into the sharp spines that characterise the echidna today. Painting by Dick Murramurra
Sugar Gliders in Aboriginal Art
Sugar gliders are normally depicted in flying position such as this example by Mick Kubarrku
Snakes in Aboriginal Art
Many Aboriginal artworks that appear to depict a snake are actually representations of the Rainbow Serpent—one of the most important ancestral beings associated with water, creation, and the shaping of the land. In these cases, the snake carries broad spiritual meaning rather than representing a specific animal.
However, not all snake imagery refers to the Rainbow Serpent. In regions such as Arnhem Land, artists often depict particular snake species connected to local Dreaming stories or food sources. For example, works by Jimmy Midjawmidjaw clearly reference identifiable snakes, sometimes rendered in the X-ray style to show internal detail.
Frogs in Aboriginal Art
In many bark paintings, frogs are closely associated with the story of the Wagilag Sisters, a significant Dreaming narrative from Arnhem Land. In this story, after the sisters are swallowed by the Rainbow Serpent, they become part of its presence and power.
Frogs, as creatures strongly linked to water and seasonal change, are understood within this context as connected to the serpent’s domain. Their well-known behaviour—calling before rain—is explained through this ancestral relationship, reflecting their role as indicators of coming water and renewal.
The two frogs painted on this bark by Marralwanga therefore have dual meaning as both frogs and the sisters.
Magpie Geese in Aboriginal Art
Magpie geese are an important subject in Aboriginal art through artists like Milpurrurru, particularly in the wetlands of Arnhem Land where they are associated with seasonal abundance, ceremony, and ancestral identity. Among the Ganalbingu people, the Magpie Goose Dreaming is connected to the monsoon season and the annual harvesting of goose eggs from the floodplains using stringybark canoes.
This harvest is accompanied by the Gurrumbumbungu ceremony, performed to ensure the geese continue to lay each year. During the ritual, men perform the Goose Dance while holding cooked eggs, which are later rubbed over newborn babies as a blessing connected to fertility, health, and renewal.
Bush Turkey (Benok) in Aboriginal Art
n this work by January Nanganyari, the bush turkey (Benok) is depicted in a rhythmic, circular arrangement, suggesting movement, ceremony, and continuity. The repeated figures emphasise the collective presence of the species rather than an individual animal, aligning with its role within the Mardayin ceremonial context of western Arnhem Land.
Benok is a Duwa moiety species and is closely associated with themes of fertility, regeneration, and the cyclical nature of life. The simplified forms—defined by dotted infill and delicate linear detail—echo both the texture of the bird’s body and the visual language of ceremonial design.
The circular composition can be read as a reference to ceremonial gathering and ancestral continuity, reinforcing the bush turkey’s connection to initiation, procreation, and the enduring rhythms of Country
Frill-Necked Lizard (Ga:ni) in Aboriginal Art
Known as Ga:ni—“King of the Lizards”—the frill-necked lizard is depicted in Aboriginal art like here by Namatbara as a figure of courage, authority, and presence. When threatened, the lizard expands its frill and stands its ground, a behaviour that has come to symbolise bravery and self-assertion within cultural narratives.
In many artworks, Ga:ni is shown with its distinctive frill extended, emphasising this moment of defence and strength. The figure often carries a sense of dominance within the composition, reflecting its status as a leading or commanding presence among lizard species.
Beyond its physical characteristics, the frill-necked lizard can represent qualities admired within community life—resilience, confidence, and the ability to confront challenges directly. As with many animals in Aboriginal art, its meaning is shaped by regional stories and context, but the association with bravery and leadership remains a consistent and powerful theme.
Catfish in Aboriginal Art
Catfish are commonly depicted alongside other freshwater species in the art of Central Arnhem Land, reflecting their importance as both a food source and part of the aquatic environment of Country. In these contexts, they often appear within broader ecological narratives that describe water systems, seasonal cycles, and subsistence life.
However, catfish can also carry deeper, personal significance. In this work by Mickey Bungkuni, the catfish represents the artist’s totemic animal. As such, it is not simply a depiction of a species, but an expression of identity, kinship, and ancestral connection. Totemic imagery links the artist to specific stories, places, and responsibilities within their cultural framework, giving the subject a meaning that extends well beyond its physical form.
Brolga (burralga) in Aboriginal Art
The brolga is a culturally significant bird in Aboriginal Australian art, widely revered as a master dancer and an important figure within Dreaming narratives across northern and eastern Australia. Its distinctive, graceful courtship dance has made it a powerful symbol of movement, ceremony, and connection to Country.
In many traditions, the brolga is associated with transformation. A well-known Dreaming story tells of a young woman devoted to dancing who, through spiritual intervention, was transformed into the brolga—her movements continuing across the landscape in the form of the bird’s elegant dance. This story underpins the bird’s association with ceremony and identity.
In Aboriginal art, the brolga is often depicted with elongated limbs and dynamic posture, capturing a sense of rhythm and performance. Its imagery can represent not only the bird itself, but also broader themes of cultural continuity, ritual practice, and the enduring relationship between people, story, and land
Dugongs in Aboriginal Art
Dugongs hold deep cultural significance in Aboriginal and Torres Strait Islander art, particularly across northern Australia and the Torres Strait. More than a marine animal, the dugong is often a revered totem, a traditional food source, and a marker of identity—embodying a close, symbiotic relationship with sea Country.
As a totemic being, the dugong represents ancestral connection and responsibility. Its depiction in art reflects not only its role in sustenance, but also the cultural laws that govern its hunting, sharing, and protection. These practices reinforce social cohesion and the transmission of knowledge across generations.
Lizard (Perentie) in Aboriginal Art
The perentie, known as Ngiṉṯaka, is Australia’s largest monitor lizard and a powerful ancestral figure in Aboriginal art, particularly among Aṉangu and Pitjantjatjara peoples. Far more than an animal, it is a key totemic being within Dreaming narratives, associated with law, journeying, and the shaping of Country.
In many artworks, the perentie is depicted through tracks, pathways, and symbolic forms rather than naturalistic detail, reflecting its presence within songlines that map ancestral journeys across the desert. These visual representations often connect multiple sites, reinforcing its role as a travelling ancestral force.
At the same time, the perentie remains an important source of bush tucker, valued for its rich, fatty meat. This dual role—as both sustenance and sacred being—embodies the broader Aboriginal understanding of animals as part of an interconnected system of survival, culture, and law
Owl (Dumbiny) in Aboriginal Art
The owl, known as Dumbiny in parts of the East Kimberley, carries powerful meanings in Aboriginal art, often associated with warning, consequence, and the enforcement of moral law. In a well-known Dreaming narrative recorded in paintings by Rover Thomas, the story tells of an owl whose feathers are cruelly plucked by children.
This act of mistreatment brings severe consequences. The Rainbow Serpent—an ancestral force associated with law, weather, and creation—responds by sending a devastating flood to punish the community. The story serves as a clear moral lesson about respect, behaviour, and the consequences of breaking cultural law.
Honey ants in Aboriginal Art
Honey ants are an important subject in Aboriginal art, particularly in the deserts of Central Australia where they are associated with survival, nourishment, and ancestral journeys. For many Aboriginal groups, especially Anangu and Western Desert peoples, Honey Ant Dreaming stories describe the travels and actions of ancestral beings across the landscape.
Traditionally gathered by women and children, honey ants were a prized bush food because of the sweet nectar stored inside their swollen abdomens.
Honey ant mural painted at Papunya by Kaapa Mbitjana and long jack Phillipus
Spirit Animals and Ancestral Beings
Aboriginal art and belief systems include a wide range of ancestral beings, many of which take the form of animals or part-human, part-animal figures. These are not mythological in the Western sense, but are understood as wangarr (ancestral presences) whose actions created the land, established law, and continue to exist within Country.
The most widely recognised is the Rainbow Serpent, associated with rain, fertility, and subterranean water sources across much of Australia. Its movements are said to have shaped rivers, waterholes, and landscape features, making it one of the central creative forces in many Aboriginal traditions.
Alongside this are numerous other beings with more localised meanings like Namarrkon and yawkyawk.
The Yawkyawk, for example, is a water-associated figure often described as part human and part fish, resembling a mermaid. It is linked to freshwater places and fertility, and frequently appears in western Arnhem Land bark paintings.
Different Styles of Animal Art Across Australia
Across Aboriginal Australia, animals are depicted in distinct ways depending on region, cultural tradition, and purpose. The same animal may appear naturalistic, symbolic, or entirely abstracted—its meaning shaped by the artistic system in which it belongs.
In the bark painting traditions of western Arnhem Land, animals are often rendered in a highly recognisable form using the X-ray style, revealing internal organs and bone structure. These works frequently relate to food species and ecological knowledge, reflecting a deep understanding of anatomy, behaviour, and survival. While some images connect to ancestral narratives, many operate as records of subsistence knowledge.
On Groote Eylandt, animals depicted in bark paintings are often linked to the artist’s totemic identity. These are not simply subjects, but spiritual relatives, tied to the creation story of the clan or group. As such, they carry obligations and restrictions—most notably, they are typically forbidden to be eaten by those who share that totemic connection.
In Yirrkala art, animals tend to be painted more economically and symbolically, forming part of a broader ancestral narrative. Rather than standing alone, they function as elements within a larger story, integrated with clan designs (miny’tji / rarrk) that encode place, identity, and law. The emphasis is not on naturalistic detail, but on how the animal contributes to the overall narrative structure.
In Central Australia, animals are often not depicted directly at all. Instead, their presence is indicated through track symbols—a highly sophisticated visual language in which footprints, movement lines, and signs of activity represent the animal. Even in this reduced form, the animal remains central to the story and custom, its identity and actions understood through cultural knowledge rather than literal depiction.
In this way, Aboriginal art demonstrates a remarkable diversity of approaches: from anatomical precision to symbolic abstraction, each system reflects a different way of understanding animals as part of Country, story, and law.
How to Teach Animals in Aboriginal Art in the Classroom
To help bring this topic to life, I’ve included:
- A PowerPoint slideshow explaining the role of animals in Aboriginal art and culture.
- Printable art templates for students to create their own “X-ray style” animal artworks.
- Easy-to-follow instructions using traditional techniques like monochrome backgrounds, white outlines, and patterned infill.
These resources are designed to be respectful, age-appropriate, and engaging for primary students. They also help students explore visual storytelling, pattern, and cultural diversity in Australian history.
Final Thought: Animals Are More Than Just Animals
In Aboriginal art, animals are not just painted because they look interesting—they are part of a living cultural tradition. They belong to stories that are sacred and are painted with deep meaning. When teaching students about animals in Aboriginal art, it’s important to share that these are spiritual symbols, not just decorations.
Aboriginal Animal Art Templates
I have attached some Aboriginal Art Animal templates based on art by aboriginal artists which you are welcome to use.
Students should be encouraged to fill in areas with cross-hatching or parallel lines rather than solid blocks of color.
Brolga
Kangaroo
Barramundi
Freshwater crocodile
Turtle
Perentie Lizard
Aboriginal Animal PowerPoint for Teachers
The following PowerPoint, available as a free download, provides an excellent starting point for introducing students to animals in Aboriginal art. Designed for classroom use, it offers a clear overview of how animals are represented, what they mean, and how they connect to Dreaming stories, Country, and traditional life.
It can be used to support lessons on symbolism, storytelling, and cultural understanding, helping students recognise that animals in Aboriginal art are not just decorative, but carry layers of meaning linked to identity, environment, and law. Ideal as an introductory resource, it can be paired with classroom discussions, art activities, or deeper exploration of specific animals and regions.
Aboriginal Art Animal Stories
The Echidna and the Turtle.
The Echidna and long neck turtle are important species that features in the Yabbadurruwa ceremony.
There is an important creation story of the battle between two powerful beings Ngarrbek and Ngalmangiyi. Ngarrbek had a young baby eaten by Ngalmangiyi. This lead to a legendary battle between the two powerful ancestors.
Ngalmangiyi had many spears and threw so many at Ngarrbek they covered his entire body. These spears later transformed into the spines and turned Ngarrbek into an echidna.
Ngarrbek however possed a magic grindstone which he smashed onto the body of Ngalmangiyi. The grindstone transformed into a hard shell and Ngalmangiyi turned into a Northern Snake-necked Turtle.
At the site where this epic battle occurred, there is still a thicket of bamboo grass used for making spears.
This legendary battle is still acknowledged through ceremony. Kuninjku performs two major regional ceremonies, the Kunabibbi and Yabbadurruwa. The ceremony celebrates the major creation journey of creator beings. These creator beings travelled first north, and then returned south, through their country. Kunabibbi belongs to the Duwa moiety social grouping. Yabbadurruwa belongs to the Yirridjdja moiety.
The two ceremonies are a pair, whereby the different social groups have reciprocal roles to play. One group aligns with Ngalmangiyi (Duwa Moiety) and the other with Ngarrbek (Yirridjdja Moiety). The ceremonies maintain the cycle of the seasons, and, in particular, the general fertility brought to the world by the coming of the wet season.
The long neck turtle and Echidna are often depicted with interior decoration to emphasise their important ceremonial role.
Turtle and Echidna Story.
Notice at top left is the spears and at the bottom the grinding stone.
Namanjwarre The Crocodile
Namanjwarre, the saltwater crocodile, Corcodylus porosus. Namanjwarre is a Yiridja moiety totem.
The estuarine crocodile or Namanjwarre is the protector of the sacred objects of the Mardayin ceremony. The Mardayin ceremony is an important rite of passage for Kuninjku language speakers of Western Arnhem Land. Namanjwarre would devour anyone who transgressed from the correct ceremonial protocol.
The upper Liverpool River and Maragalidban Creek areas had lots of these crocodiles. Crocodiles are rarely killed for food but their eggs are sought after during the wet season when the females are nesting. A major crocodile sacred site exists near the outstation of Kurrindin, in the Liverpool River District.
The treatment of the infill of Namanjwarre is the same used on Mardayin ceremonial objects. Mardayin objects decorated with the same bright patterns of crosshatching and dotted lines. Mardayin objects are secret and sacred. The use of the same design within the crocodile, thus, shows the interconnection of the crocodile and the Mardayin ceremony.
Namanjwarre is an important totem and is danced in the sacred and secret ritual of the Mardayin ceremony.
All images in this article are for educational purposes only.
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Frequently Asked Questions About Animals in Aboriginal Art
What do animals represent in Aboriginal art?
Animals in Aboriginal art can represent Dreaming stories, ancestral beings, food sources, and connections to Country. The same animal may mean different things depending on the story behind it, making context more important than the image itself.
Why are animals important in Aboriginal culture?
Animals are important because they carry knowledge about how to live on the land. They appear in stories, ceremony, and art as a way of passing down information about survival, behaviour, and cultural law across generations.
What animals are most commonly shown in Aboriginal art?
The most commonly seen animals include kangaroos, crocodiles, turtles, fish, snakes, birds, and lizards. These animals are chosen because they are either important food sources or part of significant stories.
What does a kangaroo mean in Aboriginal art?
A kangaroo can mean several things. In some paintings it represents a food source and hunting knowledge, while in others it is part of a story or an ancestral figure connected to Country.
What does a crocodile represent in Aboriginal art?
A crocodile may represent either a food animal or a powerful ancestral being. In many Arnhem Land traditions, it is linked to creation stories and law, particularly through the figure of the fire-bringer.
Is the Rainbow Serpent an animal or a spirit?
The Rainbow Serpent is best understood as an ancestral being rather than just an animal. It is associated with water, rain, and the creation of rivers and landscape features.
Do animals in Aboriginal art have fixed meanings?
No. Animals do not have fixed meanings like symbols in Western art. Their meaning depends on the story, the place, and the cultural knowledge connected to the image.
Are animals in Aboriginal art real or imaginary?
They are both. Some are real animals, while others are ancestral beings or part-human figures. Even real animals can carry deeper meanings linked to story and law.
How are animals shown in different Aboriginal art styles?
Animals can be shown in detailed X-ray form, as part of larger story compositions, or through simple symbols like tracks. The style depends on the region and the purpose of the artwork.
Do Aboriginal people eat the animals they paint?
Sometimes they do, and sometimes they don’t. Many animals are food sources, but others are connected to a person’s identity or story and cannot be eaten due to cultural rules.