Yalanba is the name of the artist's brother. But it is also the name of the beach from which the shiny black sand that adorns this painting comes from. It occurs in one spot only at Bayapula near Garthalala on Caledon Bay. The old base for Donald Thomson's NTSRU in the Second World War. She harvests it from this place because that area belongs to her clan the Marrakulu whose identity is depicted in this work.

The songs refer to Bamurruŋu, a sacred and solitary rock in Trial Bay. It is a white dome in the Bay - a round lump of granite its top coloured white by roosting birds, in the lapped by the molmulpa or white sea foam associated with turbulent and agitating waters created by particular tide and wind. The fish which swim up to Bamurruŋu are referred to as Marparrarr or milk fish, somewhat like a large mullet. These were once people of the stone country behind where the Marrakulu have now settled close the mouth of the Gurka’wuy river. They turned to Marparrarr on reaching the shore and following the feathered string to Bamurruŋu. The Beings of Marparrarr were the ‘same’ as the original inhabitants of Gurka’wuy, in this manifestation, populating Marrakulu sea country as land totems do in this area. Yolŋu of this area speak of a hole submerged under the rock, from where bubbles are seen rising to the surface, sometimes bursting forth with a rush. The bubbles are seen as a life force and a direct Ancestral connection for the Marrakulu. The Marparrarr have knowledge of this special phenomenon as do the law men. The rock is like a ‘statue’ for Mali Djuluwa Makaratjpi. When the Marrakulu perform ritual dance for the events mentioned here. Participants move towards a held spear representing the steadfastness of the rock, splitting the dancers who then surround Bamurruŋu moving as does the sea to songand rhythm of Yidaki and Bilma. Bamurrungu is seen as part of a set of three rocks which stand in the mouth of Trial Bay submergedeither completely or parƟally within its waters. The waters of Gurka’wuy River flow out through Trial Bay past these rocks conflicting and clashing in a turbulent unity with the incoming tidal waters from the deep ocean. Their names rarely spoken are Dundiwuy,

Bamurrungu and Yilpirr. In sacred song, Bamurruŋu, a sacred and monolithic rock in the mouth of Trial Bay lies submerged within its waters surrounded by these fish; Buku-Duŋgulmirri or Wawurritjpal, Sea Mullet. As teh Marrakulu dance they are the schools of fish. When their soul’s progress is momentarily barred by the obstacle of the rock (mortality) they act as these fish do and leave the dimension they know and leap into the air before returning to the familiar dimension of water. This mirrors the cyclical nature of Yolngu spiritual progress.

Bamurruŋu is a spiritual focus for an alliance of clans who share identity connected with the felling of the Stringybark tree. Wuyal the Ancestral Sugarbag Man while in Marrakulu clan country cut the sacred Wanambi (hollowed Stringybark tree) looking for native honey. Its falling path gouged the course for the Gurka’wuy River that has flowed ever since into Trial Bay. The hollow log’s movements in and out with the tides and currents completing the kinship connections of the various waters are the subject of ritual song and dance of this country. The Marrakulu sing these events (with other clans) during ceremony associated with the Wawalak myth. In other clan’s lands these actions were repeated. These groups dance songs of honey flowing like rivers of freshwater from fonts deep in the saltwater under the rock. The rivers belonging to these clans; the Marrakulu, Golumala, Marraŋu and Wawilak flow (spiritually) towards this rock. This work depicts the water clashing as it plays and mingles with that of the Djapu and Dhapuyŋu clans. This Balamumu oceanic salt water rushing into the bay creates eddies, currents and patterns that delineate the relationship between the Djapu and Marrakulu clans. This relationship is referred to as Märi-Gutharra. The maternal grandmother clan and its granddaughter. These waters are in this relationship as well. This is known as the ‘backbone’. One of the key relationships in a complex kinship system whose reciprocal duties are most powerful. These clans are both Dhuwa and share responsibilities for circumcising and burying each others clan members. A matriarchal analysis of the world that governs the behaviour of both sexes equally.