England Banggala, a fully initiated elder, recorded the history and religion of his ancestors on bark and paper. Banggala was born at isolated Cadell River in south-central Arnhem Land, home of his An-nguliny clan and Gun-nartpa language speakers. The waterways and flood plains of this fertile and picturesque river region provide his themes and subjects. He passed away in late 2001, aged about 76.
England Banggala came to prominence as one of a group of artists who, from the mid-1970s, transformed an ancient rock and ceremonial painting tradition into a full time profession. Names such as England Banggala, Johnny Bulunbulun, Peter Bandjuldjul, Mick Kubarkku, John Mawurndjul, Jimmy Njiminjuma, Terry Ngamandara, all associated with the newly established Maningrida Arts Centre, were particularly highly regarded.
England Banggala’s late paintings focus on significant mythology interconnected over several sites: Djijapuny, the ancestral water snakes resembling Rainbow Serpents, Jingabardabiya the traveling female water spirits who changed into triangular pandanus fibre mats at the sacred water hole, Boplinymarr and Lorrkon Djang (hollow funeral log Dreaming). These images can be read as a map of the ancestrally created landscape. The sites are also home to a number of totemic beings including, mullet, kapalma (water lily), birlimurra (leech), long-necked turtle, barramundi and crocodile.
Banggala’s painting is typified by a strong line, bold design and purposeful symmetry achieved by use of a broad rather than fine brush. The rarrk (cross-hatching) is restricted to clearly defined areas of the torso in the manner of ritual body painting rather than in the background. His works can be contemplative or energetically full of the rhythmic movement of fresh water beings.
Large areas of colour, dotted subdivisions and plain background reflect Banggala’s association with the Rembarrnga language people of the isolated and inaccessible southwestern and south-central Arnhem Land. Rembarrnga Aboriginal art although stylistically individual, is united through common themes of water and stone country and spirit figures.
Bark was Banggala’s preferred medium but he also made carvings and ventured successfully into printmaking. Later he preferred cotton paper and spent long times ‘sitting down’ at Gunbalanya (Oenpelli) painting for Injalak Arts and Crafts which opened in 1989.
The art of England Banggala is hanging in major art galleries and museums and his bibliography is large. He exhibited in most Australian states and traveled with dance groups as a performer singing and dancing in the traditional tribal way.
Source: CrossArt Gallery and Anthony Murphy, ‘Obituary for Elder from Cadell River’, Association of Northern Kimberley and Arnhem Aboriginal Artists, 2002
