Tjurunga
A Tjurunga, also spelt Churinga and Tjuringa, is an object considered to be of religious significance by Central Australian
Meaning
Generally speaking, tjurunga denote
The term Tjurunga was translated by Carl Strehlow to mean something similar to secret and personal. Tju means "hidden" or "secret", and runga means "that which is personal to me".[2] Kempe argued against this translation and suggested that Tju means "great", "powerful", or "sacred" and that runga did not translate into personal ownership.
Ownership
The ownership of sacred tjurunga amongst the
While some theorists, such as Strehlow, have suggested these relics are amongst the very few forms of property which may be owned legitimately by individual persons in Central Australia, Durkheim and Kempe contend that the tjurunga cannot be owned by an individual. For example, Durkheim writes, "As concerns the meaning of the word runga, that seems very doubtful. The ceremonies of the Emu belong to all the members of the Emu clan; all can participate in them; they are not the personal property of any member."[3]
In recent decades there have been moves to repatriate these sacred objects from museum collections back to their traditional owners.[4]
Religious aspects
In many
The acquisition of sufficient knowledge leading to possession of personal tjurunga was long, difficult and sometimes extremely painful. Practices differed amongst the various groups. Ted Strehlow describes how the men from the Northern, Southern and Western Arrernte groups were put on probation for several years after their last initiations.
Ceremonial significance
The tjurunga were visible embodiments of some part of the fertility of the great ancestor of the totem in question. The body of the ancestor merely undergoes a transmutation into something that will weather all the assaults of time, change and decay. Stone tjurunga were thought to have been made by the ancestors themselves. The wooden tjurunga made by the old men are symbolical of the actual tjurunga which "cannot be found". These "man-made" tjurunga were accepted without reservation as sacred objects.
At the time of receiving his tjurunga-body a young man may be twenty-five years of age. He will often be thirty-five or forty years of age before the most sacred chants and ceremonies that are linked with it have passed into his possession. As he grows older and continues to demonstrate his worthiness, he receives an ever-increasing share in the tjurunga owned by his own
In 1933, Strehlow noted that after the advent of white men to Central Australia, the young men employed by the foreign intruders were watched very closely by the old men of their group. In many cases, unless the young men were outstandingly generous in their gifts towards their elders, no ceremonies or chants of power and importance were handed on to this unworthy younger generation. With the death of the old men such chants and ceremonies passed into oblivion.
Influence on Aboriginal art
Early Papunya artists like Kaapa Mbitjana Tjampitjinpa and Anatjari Tjakamarra show tjurunga in their paintings.[5][6] Other early Papunya artists transferred the same symbols and designs found on tjurunga onto painted canvas and board. These early paintings contained the same secret sacred knowledge as found on tjurunga incised boards and stones. This practice only lasted a short time before these secret sacred symbols were hidden by artist like Clifford Possum behind veils of dots.[7] Most of the symbols people associate with aboriginal art from this region like concentric circles, U shapes and wavy lines all come from earlier designs on tjurunga.
Acquisition of knowledge
The old men would carefully note a young man's conduct. He had to be respectful towards his elders; he had to be attentive to their advice in all things. He would know the value of silence in
The old men seized my hand. They all struck up the chant-verse:
- With fierce eyes, with glowing eyes, they seize the thumb;
- With fierce eyes, with glowing eyes, they rip off the nail.
An old man produced a sharp kangaroo bone (ntjala). He stabbed my thumb with it, pushed the bone deeply underneath the nail. He drew the point out; the rest kept up the chant. He thrust it under the nail in a different place. He gradually loosened the thumbnail. It was slippery with blood. I almost shrieked with pain; the torment was unbearable. I have not forgotten it: the pain was not slight; it was exceedingly great. When the nail had been loosened, he took a sharp opossum tooth, forced it into the living flesh through the base of the thumb-nail, and tore the nail off from behind. Blood spurted over his hand. The man chanted:
- They rip off the nail, they tear off the nail;
- Blood flows like a river, rushes along like a river.
Then they seized my left hand and removed the thumb-nail in like manner.
Nowadays we make a great concession to the young men in our group. We no longer tear off their finger-nails. The price is too high; we give the tjurunga to them at a much lower cost. Besides, the young men of the present generation are no longer hardy enough to endure such pain.[1]
Relationship to historical research
These sacred relics were of high interest to early European
References
- ^ a b Strehlow, T.G.H. (1947). Aranda Traditions. Melbourne University Press. pp. 85–6.
- ^ Lucien Lévy-Bruhl (1922). The Soul Of The Primitive. Translated by Clare, Lilian A. Tr. Unwin Brothers Limited. p. 188.
- ^ Durkheim, Emile (1915). The Elementary Forms of Religious Life, trans. Karen Fields (1995 ed.). The Free Press. p. 119.
- ^ Gibson, Jason (2020). Ceremony Men: Making Ethnography and the Return of the Strehlow Collection. SUNY Press. pp. 211–338.
- ^ "Aboriginal Art of Anatjari Tjakamara Indigenous Australian Art". Aboriginal Bark Paintings. 9 October 2018. Retrieved 14 July 2021.
- ^ "Kaapa Mbitjana Tjampitjinpa | sell Kaapa Mbitjana Tjampitjinpa| Karpa Mbitjana". Aboriginal Bark Paintings. 18 October 2018. Retrieved 14 July 2021.
- ^ "Aboriginal art meaning | Meaning of Aboriginal art | Churinga | Tjuringa". Aboriginal Bark Paintings. 7 September 2019. Retrieved 14 July 2021.
Bibliography
- Durkheim, Emile, The Elementary Forms of Religious Life, trans. Karen Fields, The Free Press, 1995 (Originally Published in 1912)
- Kempe, H. “Vocabulary of the Tribes Inhabiting the Macdonnell Ranges,” RSSA, v.XIV, 1898 p. 1–54
- Spencer, B., & Gillen, F. The Arunta – A Study of a Stone Age People, Macmillan, London, 1927. Vol. II, p. 571
- Strehlow, T.G.H, Aranda Traditions, Melbourne University Press, 1947. p. 85-6
External links
- Flight of Ducks Documented sales of Tjurunga with descriptions collated from online auction sites.
- Sacred Journey An ABCdocumentary in which the Director of the South Australian Museum tries to return Aboriginal tjurungas to their original communities, along the way exploring their significance and mystery.
Aboriginal readers from Central and