Friday August 16 – My birthday, marked by the present, from Fate, of the ‘flu, I therefore took to my bed – however I should point out that I also received good wishes and a birthday dessert delivered to the room from the on-board team, and apparently Happy Birthday was sung to me in my absence at the daily briefing!
Anyhoo , while I languished, Jane went out and had all the fun. I let her take up the narrative….
Bigge Island was named by Phillip Parker King in 1819 after the English Judge and royal commissioner John Thomas Bigge. The Wunambal people of the Kimberley coast know it as Wuuyuru and it is a place of great significance to them, although it has not been inhabited for many years.
We were transferred to shore by Zodiac;
after a certain amount of milling about and depositing lifejackets, etc, our visit was split into two parts.
The first was a short walk inland (carefully avoiding the areas on the beach and in the dunes marked as turtle nesting sites)
onto rocky areas
where ceremonial sites – pathways and circles of stones – can be found.
The people who made and used these sites are no longer around to ask, but the pathways are generally thought to indicate the path of the Wunnguur, a variation of the Rainbow Serpent or creator; or (as perhaps in this case)
to indicate a significant natural resource such as fresh water.
The stone circles were most likely used for ceremonies such as marriages, places of judgement, or resting places for the dead before final interment.
We then moved on to the second part of our visit: directly on the beach are galleries of small narrow caves wherein can be found rock art.
We were asked to leave backpacks and hats outside so as not to risk scraping any of the walls or ceilings; and again the Aboriginal people request that the art is not shared on social media. However there is an interesting article here – presumably published before the no-share request – by means of which I can show you some of the art we saw.
Of particular interest are the representations of the Wandjina, the local weather deities who control rain, floods, storms and cyclones. Some Dreamtime stories say that they created the landscape and its inhabitants, and that when they left the earth they passed through the rocks, leaving an imprint of themselves behind – so what we see is not so much an artistic representation but more an imprint of their actual life force, and as such an object of reverence and respect. Whatever their nature, they date back around 4,000 years and seem to coincide with the end of a millennium-long drought that gave way to a wetter climate – which would make sense given the association of the Wandjina with water and weather.
Equally interesting, are the “First Contact” drawings. Much more recent, since first contact was in 1788, and rather more prone to erosion than the Wandjina-era works (the skills involved in creating the art obviously dying out by a few hundred years ago) these depict sailing ships and men in European clothing, smoking pipes. The article referenced above has some (obviously processed) photographs showing some of these clearly. In addition there were representations of footprints – or rather boot-prints, from boots apparently with heels; and what we would call a churchwarden’s pipe, the characteristic clay pipe often dug up in English fields and gardens. Throughout there were handprints, the outlines of (presumably) the artists’ hands – “I am here. I am country. Country is me”.
It was a fascinating and thought-provoking excursion. I arrived back at the ship to find that Steve had just been tested in the ship’s hospital and confirmed as a case of Influenza A; he’s not going to be going anywhere for the next couple of days at least – confined to cabin! But at least it wasn’t Covid, and – so far at least – I don’t appear to be affected. So you are going to have to put up with my (deathless) prose and (second-class) photography [don’t be so modest – Asst Ed] for a bit! Here’s wishing us all luck!