- page -
http://www.cdu.edu.au/cdupress
Go Back >> List of Entries
Y
YET LOONG: see YUEN YET HING
YIRAWALA (c1890–1976), Aboriginal artist, commonly known as ‘Picasso of Arnhem Land’, was born into
the Gunwingu people at Morgaleetbah, inland from Maningrida. Yirawala’s birth date is contentious and little is
known of his early childhood; although he spent most of his life on Croker Island, he retained strong filial ties both
with his kin and with the ‘country’ of his birth.
His ability as an artist became apparent at an early age and his skills and the growing commercial demand for
Aboriginal art provided him with a subsistence income. As with so many other artistic men and women, Yirawala
was not the one to profit most front the sale of his art works. It is said that he never really understood the outcome
for many of his now famous sacred drawings. As befitted of Aboriginal custom, he desired that his paintings be
presented and sold in story cycles. Instead, his works were sold individually in Australia and overseas to the benefit
of art dealers. It created in Yirawala disillusionment about the people he had so often unquestioningly trusted.
Later in life, he found himself confronted with the complexities of European ways in another domain. As one
of the 24 elders of the Gunwingu tribal lands and as custodian of the most sacred caves and objects, Yirawala made
a claim for the legal ownership of his ‘country’. Justice Woodward presided over the hearing at Maningrida but
for Yirawala, the language and the court-like formality provided a further example of the gulf between his culture
and that of Europeans.
Yirawala had two wives, Mary and Margaret, both of whom lived with him on Croker Island for most of
their lives. It is said that he had many sons although little is known about their whereabouts, except for his two
youngest sons, Bobby and Danny, who lived on Croker Island. From the sparse information available, it is evident
that Yirawala strove to maintain a tribal existence as close as possible to his forbears and with little western
influence.
Yirawala is portrayed as a man concerned that Aboriginal tradition should not be lost, not only in terms of
Aboriginal art but also in terms of other cultural pursuits. He was perceived as a man of integrity and wisdom,
dedicated to the preservation of his people’s ways. Lazarus Lamilami described Yirawala as one of a great
line of ceremonial leaders who had, from many generations back, inherited the sacred designs to reach the next
generation. Sandra Le Brun Holmes describes him as ‘one of the last real Aboriginal men’.
Shielded by an old bush hat, a handsome, dignified face with penetrating eyes is the way many remember
Yirawala. He had a sense of humour which no doubt helped to prevent his total disillusionment with the commercial
art world. Among his own people, he was able to couch his cynicism in witty stories.
In 1971 Yirawala was made a Member of the Order of the British Empire (MBE) and received the International
Art Cooperation Award, a fitting gesture to a man who had spent most of his creative life unnoticed. He died in
April 1976 on Good Friday and his body was taken back to his birthplace that was also the final resting place for his
father. After Yirawala was awarded the MBE, Adelaide sculptor John Dowie was commissioned to create a bronze
bust of the artist. Yirawala believed the sculpture held his spirit. After his death, the possession of the bronze bust,
then held by the Adelaide Art Gallery, became the subject of controversy. After some dispute, the bust was handed
over to Yirawala’s family.
Aboriginal News, vol 3, 1976; Identity, vol l, 1971; Northern Territory Newsletter, April 1976; Sydney Morning Herald, 24 July 1975.
ROBYN MAYNARD, Vol 1.
YOUNG, NORA MARY (MOLLY): see FEELEY, NORA MARY (MOLLY)
YUEN, ESSIE (MOO, SUE CHING) (1902–1991), homemaker and matriarch, was born Sue Ching Moo on
10 October 1902 at Brocks Creek in the Northern Territory. She was the youngest child of Moo Yet For and
Wong See who came from southern China. Her father who was a carpenter and cabinetmaker by trade arrived
in Australia in 1879 and was employed at John Lewis’ station at Port Essington in the Northern Territory.
She acquired the Christian name of Essie from her initials ‘SC’. Europeans had made it up but to her Greek friends
she was always called Christina. Essie had two older brothers Moo Tam Bing and Moo Con Fatt and two older
sisters, Linoy and Sue Quen. Moo Tam Bing was the father of well-known Darwin ophthalmologist Dr Ken Moo
who was the youngest of 14 children. Linoy Wong was the mother of Bill Wong who was an elder of the Chinese
Temple and Sue Quen Lee was the mother to the well-known Lee brothers, Wilson, William and Mitchell Lee of
Lee Transport. Essie spent her early years in Brocks Creek and then together with her family moved to Darwin,
where as well as his carpentry work, her father had a market garden in the area now known as the Gardens Golf
Course.
As a very young child of about 18 months, she was found to be missing one day for approximately half an hour.
She was eventually found in a very deep well which had been left uncovered, and on lowering someone down on
the bucket she was found to be kicking her little arms and legs and staying afloat. Her frantic mother rushed her
into the house and started to breast feed her. She pulled away and pointed to the statue of the Goddess of Mercy
and was quoted as saying ‘Ee—Tok Tok’ which meant—she kept me afloat. The Goddess of Mercy or Kwan Yin
as she is known is regarded as a protector of children. Her mother related this incident to her many times over the
years and when old enough she was taught to say her prayers of thanks. She was to continue her prayers all her life,
morning and evening in her home and also to attend the Chinese Temple every Sunday for the rest of her life.