Leonard Bowaynu

Leonard was born in bush between Djamardi homeland and Blythe River where his mothers covered him with raŋan (paperbark). He explains that he and his family didn’t have a need for much clothing.

Leonard has intricate knowledge of his fathers Gorriyindi country, mothers Walamaŋu country as well as the wäŋa, manikay ga rom (country, songlines and law) of connecting Maḻarra and Gamalanga clans.

In the late 1960’s Leonard was taken to the closest community of Maningrida (approximately 200km’s) to attend school however at the age of 7 he ran away and returned to his family at their homeland. He explains, ‘I learnt from following my ŋathi’mirriŋu  (mothers father) – he was a very old men with five wives. My märi (mothers mother) was his first wife. I learnt from him as well as the Maḻara, Walamaŋu and Gamalanga elders. I sat with my ŋathi’mirriŋu during ceremony, and traveled to different country for ceremony – I was learning where to find gapu ga ŋatha (water and food), where the tides ran, and the songlines crossed.’ 

Although Leonard was born on the mainland he lives at Bodiya homeland on Yurrwi (Milingimbi Island). Bodiya belongs to the Walamaŋu clan of the Dhuwa moiety. Leonard’s mother is of the Walamaŋu clan, making Leonard djuŋgayi (caretaker) for the wäŋa,riŋgitj ga rom (country, songline and law) of Bodiya. As the djuŋgayi Leonard can paint the miny’tji (designs) belonging to Bodiya and is obliged to watch over and ensure that the Walamaŋu yolŋu correctly execute their miny’tji, bungul ga rom (painting, ceremony and law). He explains that he can stand at Bodiya and sing the stingray section of the riŋgitj (songline).

Leonard explain’s the interdependent relationship of the Gorriyindi, Walamaŋu Maḻarra and Gamalanga clans and how these relationships are reflected in the wäŋa (country). For example the Gorriyinda, Walamungu and Gamalanga gapu meet and come apart at sacred sites called Gapirra. Gapirra and other significant sites are depicted in Leonard’s artwork.

Leonard remembers the strong yolŋu art movement and fishing industry that was based in Milingimbi in the 1970’s. Today Leonard is key in the continuum of ceremonial practice and transmitting of cultural knowledge. Inspired by the teachings of his forefathers he works with youth at risk delivering raypirri (disciple) camps at Rapuma (Leonard’s Gorriyindi homeland). Leonard explains that during the Ŋarra (men’s ceremony) raypirri ga mundhurr (discipline and reward) are given in different forms. ‘The reward is the manikay (song) the men sing to the boys. The Ŋarra is rom ḻuku (law that can’t be moved) and teach’s respect for wäŋa (country), women and girls, young and old.’