2008 A singular beeswax representation of Namarrkon, the Lightning Man, from western Arnhem Land

A beeswax representation of Namarrkon, the Lightning Man, was found in western Arnhem Land on an upper tributary of the East Alligator River (Figure 1). The figure is in exceptionally good condition and offered the chance to date it directly. An adjacent fragment of an underlying beeswax figure was also dated. The shelter where the figure was found was well decorated, with numerous recent and older-period motifs, includ-ing a second representation (a white, dry-pigment drawing) of Namarrkon.

The site complex (Jawoyn Association #ARN-0063) was found during a helicopter reconnais-sance of south-western Arnhem Land (Figure 1), as part of a broad-scale recording of rock-art and other cultural heritage sites within Jawoyn lands (Gunn and Whear 2006). A preliminary assess-ment of the site was undertaken in February

2006, with a detailed recording and sampling of the beeswax made the following June. Here we present results of the radiocarbon analysis and examine both the distribution of beeswax images and the representation of Namarrkon in rock-art within Arnhem Land.

ThebeeswaxfiguresTwo beeswax appliqué figures were located in the largest shelter within the site complex (Figures 2 to 4). The shelter is within a large sandstone block at the top edge of a broad east–west trend-ing gully. It is one of four rock-art sites within this small site complex. The traditional name and significance of the complex has been lost, but it occurs immediately upstream from Jarrlaworpor, a major Centipede Dreaming site (Badayal Nadjamerrek, personal communication, 2006).

AsingularbeeswaxrepresentationofNamarrkon,theLightningMan,fromwesternArnhemLand

RGGunnLa trobe university

RLwhearJawoyn Association

Abstract: Samples from a beeswax representation of Namarrkon, the Lightning Man, from western Arnhem Land were analysed for radiocarbon and dated to be about 150 years old. An underlying beeswax figure was found to be approximately 1100 years old. The Dreaming Being Namarrkon is well known throughout Arnhem Land, although his sphere of activity is concentrated around the northern half of the Arnhem Land plateau. Namarrkon is well represented in rock-paintings in this area and continues to be well represented in contemporary canvas-paintings by artists from the broader plateau region. We conclude that representations of Namarrkon in both painted and beeswax forms appear to be parallel manifestations of the late Holocene regionalisation of Arnhem Land.

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Australian Aboriginal Studies 2008/2 ��

Gunnandwhear A beeswax representation of Namarrkon, the Lightning Man

The main shelter consists of two adjoining alcoves on the western and southern side of the block (Figure 5). The southern and lower alcove, Alcove A, is in shade all year; it contains the two beeswax figures, along with 122 paintings, two dry-pigment drawings and four red hand-stencils. Many of the paintings are also in good condition. The wall of Alcove B is some three metres above ground level and is accessible from a smaller sand-stone block. This alcove contains 52 motifs, most of which are very weathered and difficult to inter-pret, as its wall is subject to full afternoon sun and also to driven rain. The block is surrounded by tall woodland trees and shrubs that provide further protection for the occupants of the shelter.

Of the two beeswax figures, the more recent motif was a distinct image of the Dreaming Being Namarrkon (Peter Bolgay, personal communica-tion, 2006). This is the only beeswax image of Namarrkon yet recorded, and one of the few (if not the only) representations of a major Dreaming Being in the medium. The figure is depicted in a frontal squatting pose, with ‘arms’ flexed and holding an encircling ring. The ‘eyes’ and ‘penis’ are prominent. The image was constructed from 80 black-coloured beeswax pellets. The two ‘stone

axes’ were added to the image with a lighter grey-coloured wax. As these features are integral to the figure’s attributes (below), it is probable they were added immediately following its completion, and using a different coloured wax to highlight their importance. However, whether this differ-ence in colour is due to a different form of wax, or the same wax artificially coloured by the addi-tion of ash or other substance, is unknown. While the large part of the figure is formed from isolated pellets, the ‘head’ and ‘penis’ have been construct-ed from overlapping pellets, with the ‘eyes’ being delineated as negative spaces. The figure is 227 millimetres high and 222 millimetres wide and is in excellent condition, with only one pellet, on his left ‘shoulder’, being partially dislodged. The second and older figure exists now only as an assortment of scattered beeswax traces over an area 410 millimetres wide. A central pellet of this earlier figure has been overlaid by one of the pellets of the Namarrkon figure. This indicates that the underlying figure was in its present bad condition when the latter was produced. The two motifs are on an overhanging ceiling, one metre above the current floor level, and behind the centre of the shelter’s living area (Figure 5).

figure1: Location of the beeswax Namarrkon figure



A beeswax representation of Namarrkon, the Lightning Man Gunnandwhear

The other artwork within the lower shelter incorporates motifs from a range of different Arnhem Land styles, including ‘Large Naturalistic’ ‘animals’ (thought to be more than 10 000 years old), ‘3mf’ hand-stencils (three middle fingers held together, with thumb and little finger splayed) from the ‘Dynamic style’ period around 8000 years ago, ‘Recent style’ polychrome and monochrome figures, and a range of intermediary styles (cf. Chaloupka 1993). A recent dry-pigment drawing of Namarrkon exists at the rear of the shelter (below). The floor of the shelter consists of loose, charcoal-rich sand that, although probably less than one metre deep, has good archaeologi-cal potential. A large grindstone sits in the middle of the floor (Figure 3 foreground). Although the shelter does not contain any ‘contact’ motifs or

figure2: the beeswax Namarrkon figure

figure3: Peter Bolgay and the beeswax figure in Alcove A. Note the central location of the motif and the grindstone on the floor



other signs of use from the contact period, the range of art styles indicates that it has been a preferred camping place for many thousands of years, and the freshness of some of the bi-chrome paintings suggests that it was also in use during the recent past.

The other three art sites within the complex are smaller shelters, and none is extensively decorat-ed. None contains beeswax or other recent style motifs.

DatingthebeeswaxTwo beeswax samples were taken for radiocarbon analysis from a single pellet of the Namarrkon motif. The thickest of the pellets on the figure was sampled, at the position of the ‘stomach’ (Figures 6 and 7). The pellet was black, and crazed over its centre. Sample A was taken from the outer skin of the pellet, and sample B from its inner core. The two samples were taken to determine whether the regular exposure to bushfire smoke, which is a consistent but irregular feature of the landscape,

figure5: Shelter BWX-� plan and section showing the location of the two Namarrkon figures

figure4: the beeswax figures in context showing the array of other artwork

�8 Australian Aboriginal Studies 2008/2


has had any contaminating effect on the outer coat of the pellet. The samples were removed using a fine drill bit on a portable drill. The spiral of wax recovered provided a core sample, from which the two samples for dating were extracted and placed into separate plastic bags. The sampling showed that the pellet had a hard crusted exterior with a softer interior, with a consistency of malleable putty. This softer inner wax immediately suggest-ed a recent age for the figure.

Sampling of the dark grey wax of the ‘stone axes’ was also considered but, as this would damage one of the key features of the motif, it was not pursued. In any event, these grey-coloured pellets could not be older than the black pellets, as they overlay them in all cases.

A lighter, grey-coloured, and obviously earli-er but now very fragmented, beeswax figure was located on either side of the Namarrkon, with one central fragment superimposed by it. A combined

figure7: Beeswax samples: A (outer) and B (inner) of central thick pellet; c, two small fragments combined for the one sample (beeswax site complex ArN-00��, site BWX-�a)

figure6: Beeswax sample locations and ages



sample was collected from two small fragments to the left of the Namarrkon figure (sample C; Figures 6 and 7). The two specks were removed by penknife and immediately bagged. The wax was hard but not brittle.

The radiocarbon results indicate that the Namarrkon is archaeologically modern, around 150 years old (Table 1). The two dates of the Namarrkon motif overlap at one standard devia-tion, indicating that, for dating purposes, neither bushfire smoke nor other agents have had any contaminating effect on the outer coating of the beeswax (Fiona Petchey, University of Waikato Radiocarbon Dating Laboratory, person-al communication, 2006). The underlying and older-looking beeswax motif proved to be consid-erably older than the Namarrkon motif, at around 1100 years old.

Table1: radiocarbon dates from beeswax samples

Motif sample Date Laboratoryno.

Namarrkon: outer skin of pellet

A 143+31 BP Wk-19299

Namarrkon: inner core of pellet

B 195+31 BP Wk-19317

Adjacent older fragment

C 1124+32 BP Wk-19318

These two sets of dates are within the expect-ed range for Arnhem Land beeswax figures. Most surviving examples have been found to be less than 500 years old (Nelson 2000), but with an apparent peak period in their production over the period between 1500 and 1000 years ago (Bednarik 2001). The oldest recorded example is around 4000 BP (Nelson et al. 2000; Watchman and Jones 2002). Following research interest in beeswax art in the 1990s, there has been a reviv-al in the art form in central Arnhem Land. Some examples were produced in rock-shelters during this decade (Taçon et al. 2000), and it continues to be employed in a casual manner today (McKenzie 2005). However, no such recent motifs are known to have been placed within the Jawoyn lands of the central and southern plateau.

The finding of two beeswax motifs of differ-ing ages in the same shelter is not exceptional, as several shelters elsewhere have been found to house figures of different ages (Taçon and Garde 2000; Nelson et al. 2000). It is likely that these shelters provide the best conditions for preserv-ing beeswax art rather than implying that they are ‘preferred’ sites. If so, it is likely that represen-tations in beeswax were far more common, both within Arnhem Land and further afield, than the present archaeological records indicate (cf. Bednarik 2001).

NamarrkondrawingSome metres to the right of the beeswax figures there is a smaller panel that contains a well-preserved white, dry-pigment drawing of Namarrkon (Figures 8 and 9). Although the figure can be seen from within the main area of the shel-ter, it is not prominent. Namarrkon is shown in the same form as the beeswax figure, in a typi-cal squatting position, with an outlined ‘head’ and ‘body’, solid ‘legs’ and linear ‘arms’, and an enlarged ‘penis’. The figure is encircled by a ‘light-ning arc’. In contrast to the beeswax version, this figure lacks stone axes and, within the arc, there are some 28 near vertical lines (‘rain’). The figure is 278 millimetres wide and 288 millimetres high, hence slightly larger than the beeswax version. Its preservation suggests that it is of relatively recent origin and, given its similarities to the beeswax figure, it is most likely of similar age (about 150 years).

While the two figures may be of similar age, it remains unknown whether they were contem-porary. Although the form of the two images is similar, there are enough differences to suggest different artists and hence it is likely that the pres-ence of one figure inspired the creation of the other. However, other recently painted motifs within the shelter indicate that Namarrkon was not the only preoccupation of the artists, as the best-preserved paintings here are a pair of white+red ‘echidnas’ (Figure 10): echidnas were both a totemic animal and a favoured food on the plateau.

BeeswaxartinArnhemLandBeeswax art in Arnhem Land has been well stud-ied.1 McKenzie (2005) showed how the wax, from



the hives of the local native bee, was softened over a fire and then pinched into either small pellets (less than ten millimetres in diameter) or rolled rods. These were then pressed onto the rock wall or other surface in the required design. The most common motif types are parallel rows of singular or overlapping dots (Chaloupka 1993:156–61). The few figurative motifs were either standing or squatting stick figures, generally interpreted as representing local bush spirits. Both motif types were said to be associated with ridding rock-

shelters of animal-borne ticks, which are a nuisance when an infested shelter is occupied by humans (Chaloupka 1993; Taçon and Garde 2000). Recent examples were also produced casu-ally, by both adults and children (Taçon and Garde 2000; Taçon et al. 2000). Most motifs appear to be singular events, although several examples of varying ages may occur within the same shelter. One exceptional composition is that of a figure holding a large ‘knife’ in one hand and a ‘rifle’, pointed at a ‘water buffalo’, in the other (Chaloupka 1984:51). Beeswax was also used to enhance painted figurative motifs, such as its application as eyes or on limb joints (Brandl 1968; Taçon 1989:139; Chaloupka 1993:158). Except for the Namarrkon figure mentioned above, the examples recorded during the current survey of Jawoyn lands are consistent with these motif types, being stick figures, rows of dots, a linear star shape and accentuated paintings (Figures 11 and 12).

The distribution of beeswax art (Figure 13) suggests a concentration around the north-west-ern corner of the Arnhem Land plateau, focusing on the East Alligator River and associated flood-plains (also Taçon and Garde 2000). This may be a result of concentrated research projects within this area, as recent finds by the authors have extended the distribution considerably (into the centre of the plateau and with occasional exam-ples much further south). While this suggests that representations in beeswax will be found throughout the plateau, it is clear that they will remain concentrated around the north-western

figure10: Well-preserved echidna paintings adjacent to the beeswax Namarrkon

figure8: White, dry-pigment drawing of Namarrkon showing ‘lightning’ arc and ‘rain’ infill

figure9: Photo-tracing of the drawing of Namarrkon



figure11: other beeswax motifs recorded during the current project



corner of the plateau. Further, and consistent with the trend across northern Australia (Walsh 1988; Welch 1995; Nelson et al. 2000; Gunn 2003), the beeswax examples in the southern plateau are in outcrops of well-cemented, stable sandstones. Despite considerable site survey in this southern region, including the recording of several large and impressive Sugarbag Dreaming

sites with well-preserved imagery (Gunn and Whear 2006), no purely beeswax motifs have been found and only a single beeswax+painting (lower panel of Figure 12). Other shelters with beeswax all consist of single beeswax pellets pressed onto the shelter floor. In general, the shelters around the southern fringe of the plateau tend to be in less stable sandstone.

Figure �2: Examples of beeswax applied to enhance existing paintings



The concentration of beeswax within the centre of the plateau parallels the presence of three sites with large polychrome X-ray ‘fish’, a non-Jawoyn feature (Gunn 2006; Gunn and Whear 2007). One of these sites also contains paintings of ‘boats’ and ‘Jawoyn lady’ motifs in the style of Najombolmi, a well-travelled recent artist from the Kakadu region (cf. Haskovec and Sullivan 1989; Taçon and Chippindale 2001). The X-ray ‘fish’ were interpreted by Peter Bolgay as most probably the work of a visiting northern artist who had been invited to participate in a particu-lar ceremony. While this may be the case at one

site, the high number of such figures and numer-ous instances of superimposition of similar style figures at the other sites suggests that these are the works of various persons over a period of time. As the number of sites with these X-ray paintings is small compared to the total number of sites within the area, site selection seems to have been very considered. Also, being in the very centre of the plateau and at the confluence of three major rivers (the north-easterly flowing East Alligator River, the southerly flowing Katherine River and the north-westerly flowing Mann/Liverpool Rivers), this would be an ideal location for periodic or

figure13: distribution of beeswax rock-art motifs and pellets in and around the Arnhem Land plateau



annual trade, exchange and ceremony involving the aggregation of different groups living around the margins of the plateau. Extrapolating Peter’s interpretation, sites with northern X-ray and beeswax motifs could well indicate the regular camping places of small visiting groups or individ-uals from the northern areas of the plateau (from around Kunbalanya–Kakadu).

NamarrkonNamarrkon, the Lightning Man, is well known throughout north-western Arnhem Land, where he is associated with the oncoming of the wet season (e.g. Mountford 1955; 1956:208–11; Brandl

1973:179; Chaloupka 1993:56–9). His prima-ry Kunwinjku name is Namarrkon but differ-ent dialect groups have different names such as Namarden, Ngalyurr and Alyurr (Murray Garde, personal communication, 2007). The Dreaming story has an open version that is known to young and old alike. Namarrkon carries stone axes, which he strikes together at the beginning of the wet season to produce thunder and lightning, the precursors to the arrival of the replenishing rains. Chaloupka’s (1993) detailed account describes his journeys from the north (Coburg Peninsula) with his wife, Barrginj, and their children. They trav-elled around the northern edge of the escarpment,

figure14: recorded Namarrkon art sites and a simplified map of the Namarrkon dreaming Path



south-east to the Liverpool River, and then into the plateau, where they made a permanent home at Bolkngok, between the Mann and Liverpool Rivers (Figure 14). From here, Namarrkon trav-elled across the plateau to the western edge of the escarpment, where he left one of his eyes to watch for the approaching monsoons. On his return home, he created sacred, or djang, places that must not be disturbed. Once home, he sent his children out over the plateau, where they became alyurr, the spectacular grasshopper (Petasida ephippig-era), which are most active during the first rains.

In another account, Mountford (1955) was told that ‘Mamaragan’ (Namarrkon) lives at the bottom of the deep waterhole at Gudjamandi (Kudjumarndi: just into the plateau, south-west of Oenpelli) during the dry season, but ascends into the clouds as the monsoons approach, creat-ing thunder with his axes.

In rock-painting, as well as in bark- and canvas-paintings, Namarrkon is usually depicted in a full-frontal squatting pose, with a prominent ‘penis’ and ‘testicles’ (Brandl 1973; Chaloupka 1982, 1984). ‘Stone axes’ protrude from his ‘head’, ‘elbows’ and ‘knees’, although additional ‘axes’ may be attached to other parts of his ‘body’ or tucked into his ‘belt’. His ‘body’ is encircled by an arc, passing from his ‘head’ to ‘feet’. According to Lofty Nadjamerrek, the arc represents Namarrkon’s power (lightning), which emanates from his testicles. The area within the arc can also be infilled with a pattern of dashes that represent man-djewk, the rain (Murray Garde, personal communication, 2007).

Rock-paintings of Namarrkon are common throughout the northern area of the plateau (e.g. Figure 15) and two clans in this area, Rol and Lambirra, are totemic owners of the Lightning Dreaming and have important djang (sacred-dangerous) Lightning sites within their estates (Murray Garde, personal communication, 2007). However, as one senior traditional owner noted, depictions of Namarrkon did not confer any particular significance on a site, as Namarrkon was often a topic of interest, especially at the beginning of the wet season (Jacob Nayinggul, quoted by Gunn 1992a:40). Depictions in other media such as beeswax and drawing are rare. Chaloupka (1984:44) suggested that depictions of Namarrkon varied between different language groups. A similar pattern of artistic differences in the recent rock-art of western Arnhem Land was identified by Taçon (1993:114), who noted that the stylistic regions corresponded with linguistic territories. In the four examples of Namarrkon provided by Chaloupka, the only common features are prominent ‘eyes’ and ‘genitals’, and the attach-ment of ‘stone axes’ to ‘limb joints’. Three of the four also have the enclosing or partially enclosing ‘lightning ring’, and two are in a frontal squat-ting position. According to Chaloupka’s classi-fication, the beeswax figure discussed here is in the style of the area now occupied by Kunwinjku-speaking people further downstream along the East Alligator River. Figures in his ‘Kunwinjku style’ have also been found in the Gundjeihmi and Urningangk language areas, and others have been recorded on the Mann River (Figure 16). This form of representation is therefore likely to

figure15: two paintings of Namarrkon from near Kunbalanya (reproduced with the permission of Jacob Nayinggul)



figure16: twin paintings of Namarrkon from Kundjorlomdjorlom on the Mann river (photo M Garde; reproduced with the permission of Badayal Nadjamerrek)

figure17: the late Peter Bolgay and his painting of Namarrkon, painted following his visit to the beeswax site in 200�



be found across the full area of the northern and western parts of the plateau (cf. Brandl 1973: 62; Chaloupka 1982; Gunn 1992a), although it does not appear to be used in the Coopers Creek complexes to the north of the main body of the plateau (Roberts and Parker 2003: 82–3).

The form used in the drawing of Namarrkon, depicting the ‘rain’ as linear infill within the area encompassed by the arc, has direct paral-lels at Madjana (50 kilometres to the north-west; Chaloupka 1993:58) and Kundjorlomdjorlom (70 kilometres north-east; Murray Garde, person-al communication, 2007). These examples are widespread and can be taken to show that this feature is a well-used variation on the standard Kunwinjku form.

Although Namarrkon’s activities were restrict-ed to north-western Arnhem Land, he is well known around the plateau by other names to other language groups. He was often depicted in tradi-tional bark-paintings (Mountford 1956:208–11) and remains a figure of contemporary relevance, as is demonstrated by his continued depiction in contemporary bark- and canvas-paintings (Figure 17; Brandl 1973:64; Aboriginal Arts Board 1979:82–6).

From an archaeological perspective, the myth of Namarrkon must date no earlier than the beginning of the Estuarine period, around 6000 years ago, as this marked the beginning of the wet season storms over the region for which Namarrkon is held responsible (Allen and Barton 1989; Chippindale and Taçon 1998). However, as most images of him are in the bi-chrome style of the recent past, and none is recorded from the earlier ‘Mimi’ periods, it is likely that the myth arose with the development of seasonally flood-ed wetlands when the present aspect of the land-scape stabilised around 1500 years ago. This time was marked by a great increase in the wealth and variety of available foods and the spread of inter-regional trading networks and religious cults, along with changes in technology and hunting strategies (Allen and Barton 1989:106–7; also David 2002).

Taçon (1993) and David (2002) have argued that distinct local regions in Arnhem Land rock-art developed over the past 1500 years. The Dreaming path taken by Namarrkon is very local, being restricted to the northern part of the plateau

(Figure 14). The distribution of representations in beeswax falls essentially within the same region (Figure 13). While there is no suggestion that these two features are culturally associated, espe-cially as there are other Dreaming Beings, such as Birriwilk (Gunn 1992a), with similarly restrict-ed ranges within the north-western corner of the plateau, the two are seen as reflecting differ-ent aspects of this regionalisation. The differenc-es between the imagery of the northern plateau (Kunwinjku and allied groups) and that of the south (Jawoyn and affiliated groups) have been alluded to previously (Gunn 1992b; Chaloupka 1993; Taçon 1993; Gunn and Whear 2007) but still remain to be fully explored. The major differ-ences in the rock-art seem to be in relation to major motifs (large, bi-chrome or polychrome figures) that are intimately related to local religious cults (Maddock 1970; Gunn 1992b). It is expected that both beeswax figures and images of Namarrkon, along with large polychrome depictions of ‘fish’ and decorated hand-stencils, will prove to be some of the features that will characterise the imagery of the northern plateau. Consequently, when these features are found outside their respective areas, they can be taken to denote some direct contact, such as invited participation in the ceremonies of their neighbours as suggested by Bolgay above, or perhaps as ‘picture post-cards’ of works seen by visitors to the northern areas (Badayal ‘Lofty’ Nadjamerrek, quoted by Garde 2006).

ConclusionThe radiocarbon dating of a beeswax representa-tion of Namarrkon, the Lightning Man, from a site in western Arnhem Land, showed the figure to be around 150 years old. The fragments of an earlier and underlying beeswax figure were found to be around 1100 years old. These dates are consistent with other dates for beeswax figures throughout the region.

The presence of two Namarrkon figures in two different media within the one shelter suggest that, around 150 years ago at least, the shelter was being used as an early wet season retreat, when rock-shelters were sought as protection from storms and when their occupants would have been particularly conscious of the presence of Namarrkon.



The distributions of representations of Namar-rkon and beeswax motifs in Arnhem Land were found to be concentrated around the north-west-ern corner of the plateau, and particularly along the East Alligator River. These restricted distri-butions are seen to reflect local regionalisation apparent in other rock-art trends and which developed over the past 1500 years. The location of these northern art features within the centre of the plateau is interpreted as reflecting a common area of trade and ceremony, involving peoples from the north and south of the plateau.

ACkNOwLEDGMENTs

Senior Custodian Peter Bolgay gave permission for the beeswax sampling and was in attendance during the collection. Permission was also obtained from the board of the Jawoyn Association, Katherine. Tragically, Peter died in September 2007, but the use of his name and photographs are retained with the support of Anna, his wife, members of the Manyallaluk Community, and the Board of the Jawoyn Association. Murray Garde, a linguist with longstanding presence in western Arnhem Land, provided invaluable information that he had collected on Namarrkon and the sites around the Mann River, as well as assisting in discussions with Badayal ‘Lofty’ Nadjamerrek. Sally May assisted in gaining permission from Jacob Nayinggul to reproduce the paintings from Mikinj recorded by the author in 1992. Chris Morgan ably piloted the helicopter for the present project and assisted with the pedestrian surveys. Alan Hogg and Fiona Petchey, from the Waikato Radiocarbon Dating Laboratory, provided discussions of the dating results. I thank Leigh Douglas, Murray Garde and an anonymous Australian Aboriginal Studies reviewer for commenting on the draft manuscript.

NOTE

1. Brandl 1968, 1973; Chaloupka 1984, 1993; Taçon 1989; Walsh 1988; Nelson et al. 2000; Taçon and Garde 2000; Watchman and Jones 2002; Bednarik 2001; Taçon et al. 2004.

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RG Gunn, Research Associate, Archaeology, La Trobe University, 329 Mt Dryden Road, Lake Lonsdale, Vic. 3380.

<[email protected]>

RL whear, Lands Manager, Jawoyn Association, Katherine, NT 0850.

<[email protected]>

2008 A singular beeswax representation of Namarrkon, the Lightning Man, from western Arnhem Land

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