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Crusoe Kuningbal

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Crusoe Kuningbal
Born1922
Liverpool River Region, Northern Territory, Australia
Died1984 (aged 61–62)
Barrihdjowkkeng, Northern Territory, Australia
Other namesGuningbal, Guninbal, Caruso
SpouseLena Kuriniya
ChildrenCrusoe Kurddal (son), Owen Yalandja (son), Timothy Wulandjbirr (son)

Crusoe Kuningbal or Guningbal (1922–1984) was an Aboriginal Australian artist from Maningrida in the Northern Territory, known for a pointillist technique and tall, slim sculptures of mimih spirits.[1] In addition to his art, Kuningbal was a prominent cultural figure in his region, as he sang and performed in important ceremonies, most notably that of the Mamurrng.[2]

Biography

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Crusoe Kuningbal was born in the middle Liverpool River region in the Northern Territory of Australia as part of the Kuninjku language group.[1] He married Lena Kuriniya and had three sons, Crusoe Kurddal, Owen Yalandja, and Timothy Wulandjbirr.

In his early days, he worked at buffalo shooter camps in West Arnhem Land. Prior to World War II, Kuningbal and other members of the Kuninjku moved to Milingimbi mission.[3] It is likely that he gained inspiration for his art from his time in Milingimbi and later Maningrida.[3] After the war, he returned to Maningrida and began to make bark paintings to sell at the local trading post. He became quite renowned as a bark painter with works being acquired by important collections such as the New Gallery of Victoria and the National Gallery of Australia.[4][5] Most of his bark paintings portray mimih spirits formed by black and white dots.[4] They typically have a solid background, either brown or red.[4] The small dots align to create stripes that form the bodies of the figures.

Later, Kuningbal relocated to Barrihdjowkkeng, a small outstation where he lived with his wife Lena Kuriniya and sons Crusoe Kurddal, Owen Yalandja, and Timothy Wulandjbirr, all of whom were artists. This outstation was closer to ancestral country, which allowed them to become more in touch with the land that is the essence of their beliefs and art. Kuningbal had a significant role in the community as a singer, dancer, and storyteller.[6] He began creating mimih figures in the 1960s for the use in ceremonies, particularly the Mamurrng ceremony.[6] In the mid-1960s, Louis Allen became the first Westerner to purchase one of Kuningbal's mimih carvings.[6] After this, the figures began to grow in popularity. In 1984 (the year of Kuningbal's death), the National Gallery of Australia acquired some of his mimih figures.[6] This was a huge milestone for his works, and they continued to spread to many other collections and exhibitions. He passed down his artistic skills and techniques to his sons, Crusoe Kurddal and Owen Yalandja.[7] Lena Kuriniya, his wife, was also a successful artist, and her works were featured in some of the same exhibitions as her husband's.[8] In 1999, Lena was the top-earning Kuninjku sculptor.[3]

Crusoe Kuningbal is widely recognized as the first artist in the region to carve mimic spirit figures in three-dimensional form, a practice he bagan in the 1960s. Although mimih were a common subject in bark painting, he was the only artist at the time to depict them in sculpture. His carvings portrayed the spirits as tall, slender beings associated with the rocky escarpments of Arnhem Land. According to Kuninjku belief, mimih live within rock fissures and emerge at dusk, are known to be elusive hunters into the rock country and vanishing without a trace. Contemporary people say that the mimih painted much of the rock art that displays their images and lifestyle.[9] Kuningbal's innovation laid the groundwork for a new sculptural tradition within the Kuninjku community.[10]

Kuningbal also played a foundational role not only as an artist but as a cultural innovator. He was the initial artist to carve mimih spirit figures for ceremonial use, and this practice has since evolved into a key artistic tradition in Western Arnhem Land. His work contributed to what is now a thriving local industry, enabling artists to earn income while preserving cultural practices on their ancestral lands.[11]

Mamurrng

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The Mamurrng is a ceremony in which two different language communities come together for trade and diplomacy.[12] In this ceremony there are songs, dances, beating of clapsticks, and playing of the didjeridu.[12] Red and white ochre is used to paint the bodies of participants and special outfits of cloth and headbands are dawned.[12] In the 1960s, Kuningbal pioneered many songs and dances used in the ceremony. These dances were inspired by the mimih spirits and their cunning ways. In addition to singing and dancing, Kunginbal carved mimih sculptures for the ceremony which had previously never been done. He incorporated life sized carvings and his distinctive songs, dances, and sculptures were quickly popularized amongst his local setting.[13] They were put in the middle to be danced around.[14] He also broke tradition by covering his statues in his now trademark dots instead of traditional rarrk designs.[15] This ceremony was performed in public spaces in Maningrida where community members and outsiders noticed Kuningbal's sculptures and a market demand for them resulted.[16]

Works

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Crusoe Kuningbal was a dancer, singer, painter and carver. He is known for creating ceremonial dance and songs as well as bark paintings of spirits. His bark paintings did not do well in the market, so not many were produced.[3] In his region, Kuningbal was the first artist to produce sculptures for inclusion in local trade ceremony. He was also the first artist to put his works for sale at the newly opened art centre in the 1960s.[17] He is best known for his carved sculptures of mimih spirits. His sculptures are each titled Mimih Spirit. They stand at a range of heights including, 184.5 cm, 114 cm, and 156 cm, with varying diameters to their cylindrical bodies such as 16.5 cm, 12 cm, and 14 cm.[8] The size depends on the single piece of wood that is used to carve the figures. Kuningbal only used Brachychiton diversifolius trees, more commonly known as northern kurrajong.[14] Artists from the Kuninjku/Kunibeidji language cluster continue to use this tree species for their carvings.[14] Since then, many language groups in the region have depicted their cultural themes using the same medium.[18] His earliest sculptures of mimih were smaller and less detailed than the later and more notable pieces; they were no taller than 1m, and the arms were depicted with grooves.[3] Later pieces made follow a general pattern and aesthetic. The tree is harvested and carved to have two thin and short legs at the base. The torso is carved to be long, thin, and sometimes curved according to the natural growth of the tree it once was. The arms are carved at the base of the head out of and along the length of the torso. The head is then carved to be cylindrical with a sometimes slight conical shape. Using natural pigments, large black circles are painted for eyes with a line of black below for a mouth. Dots in other natural pigment colours are then painted in flowing lines on the figure down the face, the arms, most plentifully on the torso, and partially down the legs. These sculptures are left unsigned. His sculptures were relatively smaller and less detailed than the ones his two sons, Owen and Crusoe, would go on to create after his death.[3]

Materials and technique

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Kuningbal worked with Brachychiton diversifolius, a tree prized for its durability and resistance to cracking. This choice shaped the material preferences of later Juninjku carvers, including many of his sons.[14]

The wood used for mimih sculptures often reflects linguistic and cultural traditions. Kuninjku artists predominantly use Brachychiton diversifolius, a tree species associated with their regional artistic lineage, while neighboring language groups favor Bombax ceiba. This divergence does not stem from availability but from cultural traditions introduced by early artists like Kuningbal and adapted by each community.[19]

Brachychiton diversifolius was initially for ceremonial exchange and later for sale through the emerging Aboriginal art market. Kuningbal’s unique approach helped establish mimih carving as a distinct and recognizable genre, shaping future generations.[19]  

Kuninjku artists, including Crusoe Kuningbal and his descendants, emphasize the importance of rarrk, or cross hatching, in both aesthetic and cultural terms. Paintings are described as rarrk-mak, when finely and carefully executed, or kabimbebme (shining paint) when the colors are so vibrant that they appear to jump out at the viewer.[20]

Career

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Crusoe Kunigbal began as an artist through bark painting as well as in ceremonial song and dance. In the 1960s Kuningbal began to create carved statues. Kuningbal started the tradition of carving in his region. Crusoe Kuningbal primarily focused his artwork on portraying the mimih.[2] Mimih spirits are tall, thin, fragile spirit beings that inhabit Arnhem Land, specifically rocky areas and act in mischievous ways.[2] These spirits are thought to be able to leave their realm through cracks in the rock in order to visit the world of humans. [3] In the beginning of his career as a sculptor of mimih spirits in the 1980s, they sold from $12-$50.[3] Kuningbal went on to produce his mimih spirit sculptures for sale at the Maningrida Art Center in the Northern Territory of Australia.[8] Peter Cooke, while he was the arts advisor in Maningrida, had a large influence in the marketing of Kunigbal's works.[3] During his time, Cooke developed such strong relationships with Kuninjku artists that he was bestowed a classificatory relation to a Kuninjku clan.[3] Kuningbal was successful in his local market, but his sons were the ones to bring sculptures of mimih to a larger and cross-cultural market.[3] Many museums and galleries would later collect many of his pieces, as well as his sons'.

Kuningbal was an innovator, and he frequently added new elements to traditional art practices of the region. He was the first person in his clan to create life-size carvings of the mimih. Additionally, he strayed away from the rarrk designs that are typical of his region.[2] Rarrk is a pattern of crosshatching meant to create a shimmer effect that is common in aboriginal art. Instead, he covered the mimih sculptures with small dots.[2] Typically, he would paint his sculptures with a red ground and decorate them with rows of white dots.[21] These small and plentiful dots became his trademark. He would later pass this style and techniques onto his sons Crusoe Kurddal and Owen Yalandja. They would both go on to become notable artists themselves through the production of the life-size mimih carvings covered in dots. Kuningbal's sons innovated on the mimih sculptures even more so by making them bigger, more detailed, and with smaller and more plentiful dots.[3] They also branched out to include painted backgrounds and sculpting of other cultural and ancestral figures.[3] There are dozens of people in Maningrida who took up carving mimih sculptures after Kuningbal passed, including some women who are historically excluded from art practices in the region.[3]

His work is included in the Aboriginal and Torres Strait Islander Affairs Art (ATSIAA) Collection at the National Museum Australia. This collection holds 2,050 works spanning a 38 year period following a 1967 referendum that dramatically changed the governance in regards to Aboriginal Australians.[22] The ATSIAA collection stands as a visual history of the diversity and development that took place in Aboriginal Art during this shift in governance. In 1983, Elwyn Lynn commissioned Kuningbal to create a mimih figure spirit for the J.W. Power Collection of contemporary art at the University of Sydney and the Museum of Contemporary Art Australia. This would be the first work of Aboriginal Australian art to enter the Power Collection.[23]

Legacy

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Kuningbal's artistic legacy continues through the work of his sons, Owen and Crusoe, both of whom have become leading sculptures in the region. His sons' continue to carve mimih statues that can reach up to four meters high.[24] His stylistic innovations, particularly those in the carving of mimic figures, have now been adopted and expanded by a younger generation of Kuninjku artists.[10]

His son, Crusoe Kurddal, adapted his father's mimih carving tradition for broader commercial and exhibition audiences. This intergenerational transition is described as central to the continued success of Kuninjku sculptural arts.[11] Kurdaal is also known to be a proficient dancer and uses his own physical movements to capture the antics of the mimih spirits.[25] Owen Yalandja, his other son, is known to perform songs that have been passed down from his father. [26] Once a song man has died, their songs can only be sung by their sons. [27] Both Kurdaal and Yalandja are known to be leaders in innovation in sculpture, as with their father.[28]

Over half of Kuninjku artists surveyed in the early 2000s, including Kuningbal's sons, cited his influence as the reason they continue to work with B. diversifolius and focus on mimih figures.[14]

Kuningbal’s legacy lives not only through his sons but also through a broader kin network of painters who developed distinctive regionals tyles at outstations like Mumeka and Milmilngkan. These localized “schools” of bark paintingreflect a combination of inherited techniques and personal innovation.[20]

Collections

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Significant exhibitions

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References

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  1. ^ a b "Crusoe Kuningbal | Artists | NGV". www.ngv.vic.gov.au. Retrieved 3 April 2020.
  2. ^ a b c d e "SCULPTURE BOLKIMME | SCULPTURE TODAY: New Works from Maningrida Arts & Culture". Issuu. Retrieved 3 April 2020.
  3. ^ a b c d e f g h i j k l m n Taylor, Luke. "Manifestations of the mimih" (PDF).
  4. ^ a b c d "Crusoe Kuningbal | Artists | NGV". www.ngv.vic.gov.au. Retrieved 29 April 2020.
  5. ^ Kuningbal, Crusoe. "Bark painting of a carved figure (morkuy or mimi) in yellow ochre, with two smaller floating figures". Item held by National Gallery of Australia. Retrieved 3 May 2020.
  6. ^ a b c d Rothwell, Nicolas (3 May 2014). "In Search of the Little People". The Australian.
  7. ^ "Monstrous figures in Arnhem Land at News Aboriginal Art Directory. View information about Monstrous figures in Arnhem Land". news.aboriginalartdirectory.com. Retrieved 1 May 2020.
  8. ^ a b c "crossing country exhibition". www.artgallery.nsw.gov.au. Retrieved 2 May 2020.
  9. ^ Taylor, Luke. 2008. “Inspired by Country: Kuninjku Bark Painting and Sculpture.” Wasafiri 23 (2): 30–43. doi:10.1080/02690050801954278.
  10. ^ a b Taylor, Luke (2008). "Inspired by Country". Wasafiri: 30–44.
  11. ^ a b Volkenandt, Claus; Kaufmann, Christian; Mawurndjul, John, eds. (2009). Between Indigenous Australia and Europe: John Mawurndjul: art histories in context (1. publ ed.). Canberra: Aboriginal Studies Press. ISBN 978-0-85575-666-6.
  12. ^ a b c Brown, Reuben (2017), GILLESPIE, KIRSTY; TRELOYN, SALLY; NILES, DON (eds.), "A Different Mode of Exchange:: The Mamurrng Ceremony of Western Arnhem Land", A Distinctive Voice in the Antipodes, Essays in Honour of Stephen A. Wild, ANU Press, pp. 41–72, ISBN 978-1-76046-111-9, JSTOR j.ctt1trkk4c.9
  13. ^ Taylor, Luke. "13. Manifestations of the mimih1."
  14. ^ a b c d e Koenig, Jennifer; Altman, Jon C.; Griffiths, Anthony D. (2011). "Artists as Harvesters: Natural Resource Use by Indigenous Woodcarvers in Central Arnhem Land, Australia". Human Ecology. 39 (4): 407–419. doi:10.1007/s10745-011-9413-z. ISSN 0300-7839. JSTOR 41474621.
  15. ^ "MANINGRIDA 2019 | SCULPTURE BOLKIMME SCULPTURE TODAY". Issuu. Retrieved 2 May 2020.
  16. ^ a b "Mimih spirit, (1985) by Crusoe Kurddal". www.artgallery.nsw.gov.au. Retrieved 29 April 2020.
  17. ^ Koenig, Jennifer, Jon C. Altman, and Anthony D. Griffiths. "Artists as harvesters: natural resource use by indigenous woodcarvers in Central Arnhem Land, Australia." Human Ecology 39 (2011): 407-419.
  18. ^ Koenig, Jennifer, Jon C. Altman, and Anthony D. Griffiths. "Artists as harvesters: natural resource use by indigenous woodcarvers in Central Arnhem Land, Australia." Human Ecology 39 (2011): 407-419.
  19. ^ a b Taylor, Luke (2008). "'They may say tourist, may say truly painting': aesthetic evaluation and meaning of bark paintings in western Arnhem Land, northern Australia". Journal of the Royal Anthropological Institute. 14 (4): 865–885. doi:10.1111/j.1467-9655.2008.00535.x. ISSN 1467-9655.
  20. ^ a b Taylor, Luke (July 2008). "Negotiating form in Kuninjku bark-paintings". Australian Aboriginal Studies. 2008 (1): 56–66 – via EBSCO.
  21. ^ Caruana, Wally. Aboriginal art. Thames & Hudson, 2025.
  22. ^ a b "Kuningbal, Crusoe". National Museum of Australia. Retrieved 2 May 2020.
  23. ^ a b Museum of Contemporary Art (Sydney, N.S.W.) (2001). The native born : objects and representations from Ramingining, Arnhem Land. Murphy, Bernice., Mundine, Djon., Rudder, John., Bula'bula Arts. Sydney: Museum of Contemporary Art. p. 21. ISBN 1-875632-44-1. OCLC 187486142.
  24. ^ Caruana, Wally. Aboriginal art. Thames & Hudson, 2025.
  25. ^ Taylor, Luke. 2008. “Inspired by Country: Kuninjku Bark Painting and Sculpture.” Wasafiri 23 (2): 30–43. doi:10.1080/02690050801954278.
  26. ^ Garde, Murray. 2005. “The Language of Kun-Horrk in Western Arnhem Land.” Musicology Australia 28 (1): 59–89. doi:10.1080/08145857.2005.10415278.
  27. ^ Garde, Murray. 2005. “The Language of Kun-Horrk in Western Arnhem Land.” Musicology Australia 28 (1): 59–89. doi:10.1080/08145857.2005.10415278.
  28. ^ Taylor, Luke. 2008. “Inspired by Country: Kuninjku Bark Painting and Sculpture.” Wasafiri 23 (2): 30–43. doi:10.1080/02690050801954278.
  29. ^ Kuningbal, Crusoe. "Carved Mimi Spirit". Item held by National Gallery of Australia. Retrieved 1 May 2020.
  30. ^ st, Visit North Terrace Adelaide SA 5000 Australia T. +61 8 8207 7000 E. infoartgallery sa gov au www agsa sa gov au AGSA Kaurna yartangka yuwanthi AGSA; l, s on Kaurna; Maps, Open in. "Crusoe Kuningbal". AGSA - Online Collection. Retrieved 2 May 2020.{{cite web}}: CS1 maint: numeric names: authors list (link)
  31. ^ Ar̲atjara : art of the first Australians : traditional and contemporary works by Aboriginal and Torres Strait Islander artists. Lüthi, Bernhard., Lee, Gary., Kunstsammlung Nordrhein-Westfalen (Germany). Köln: DuMont. 1993. ISBN 3-926154-17-9. OCLC 30439449.{{cite book}}: CS1 maint: others (link)
  32. ^ Crossing country : the alchemy of Western Arnhem Land art. Perkins, Hetti., Art Gallery of New South Wales. Sydney [N.S.W.]: Art Gallery of New South Wales. 2004. ISBN 0-7347-6359-X. OCLC 56650244.{{cite book}}: CS1 maint: others (link)
  33. ^ "Carving | UQ Anthropology Museum". catalogue.anthropologymuseum.uq.edu.au. Retrieved 2 May 2020.
  34. ^ "Outstation | Maningrida Arts & Culture". Maningrida. Retrieved 2 May 2020.
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