The spirited work 'Wurrpan (emu)' c1950s showcases Buranday’s skill with three-dimensional forms. Constructed from paperbark bound with handmade string it eloquently captures the character of an emu and is held by the dancer personifying the emu within the Wurrpan ceremony. Binyinyuwuy danced with such a sculpture at a Wurrpan ceremony in Milingimbi in the 1960s, as recorded by Alan Fidock, with Dawidi his hunter.
Totemic emblem (Emu)
natural pigments on paperbark, vegetable fibre string, beeswax, featherspainted decoration
61 x 7.6 x 7.6 cm
Not on display
© Buranday. Licensed by Viscopy, Sydney
Where the work was made
Central Arnhem Land
Shown in 2 exhibitions
Referenced in 8 publications
John Mundine and Renée Porter, Art Gallery of New South Wales handbook, 'Aboriginal and Melanesian', pg. 57-71, Sydney, 1988, 63 (colour illus.).
Margie West, One sun one moon: Aboriginal art in Australia, ‘Woven meaning: The continuity of Aboriginal fibre art’, pg. 271-275, Sydney, 2007, 270 (colour illus.).
Jonathan Cooper (Editor), The Art Gallery of New South Wales Bulletin, Sydney, Oct 1994-Nov 1994, 36 (colour illus.).
Margo Neale, Yiribana: Aboriginal and Torres Strait Islander collection, Sydney, 1994, 99 (colour illus.), 100, 136, 139. plate no. 47
Margo Neale, Yiribana, Sydney, 1994, 15 (colour illus.).
Edmund Capon and Jan Meek (Editors), Portrait of a Gallery, 'Tribal Galleries', pg. 42-47, Sydney, 1984, 44 (colour illus.).
Jonathan Cooper (Editor), The Art Gallery of New South Wales Bulletin, 'Yiribana Aboriginal & Torres Strait Islander Gallery', pg. 6-9, Sydney, Apr 1995-May 1995, 9 (colour illus.).
Hetti Perkins and Ken Watson, A material thing - objects from the collection, Sydney, 1999, 3, 4 (colour illus.).