Many of the Dhuwa clans are associated with mytholgies pertaining to country that is serviced by freshwater wells. At these sites the water goanna resides and is generically named Beyay or Djanda but has other names. Djanda has also manifest associations of the Dhuwa moiety creator being – Djaŋ’kawu. It was the Djaŋ’kawu, when travelling the land, who created these water holes with digging sticks. This describes their journey through Djapu clan land near Blue Mud Bay at Balana. This design is restricted for use by the particular arm of the large Djapu clan which this artist belongs to. Reference to the Djapu clan land is made by producing the sacred clan design for Djapu freshwater and more specifically to actual site by particular use of (or lack of) colour in the squared crosshatched pattern. The source of this Djapu sacred design are the songs in which Ancestors tried to trap Mäna in the freshwater by building traps in the waterways. They failed. The powers and physical strength of the Shark were of no match to the folly of mere mortals. Mäna’s ire and thrashing tail smashed the trap and muddied the water as he did so. Bärŋbarŋ, Monu`a used the trees named Gu`uwu, Gathurrmakarr, Nyenyi, Rulwirrika and Gananyarra – all Dhuwa trees. They used straight young trees and their axes called Gayma`arri, Bitjutju . At ceremony, still practised today, appropriate participants for mortuary rites to be formalised enter a shelter (woven together similarly to that of the unsuccessful trap) to where the deceased lies in state. Sacred spears tipped with stingray barbs, manifest of Mäna’s teeth stand up alongside the shelter. The sacred song cycles of Mäna in the water at Wandawuy are intoned with music from the Yidaki and Bilma. At the prescribed time the dancers crash through the deceased’s shelter imitating the actions of Mäna at the trap. This action has reference to the release of the deceased’s soul, back to the sacred waters of Wandawuy to be reunited with its ancestors awaited rebirth. The grid pattern is the fishtrap in essence. It shows the well to which the spirit journeys after death according to Yolŋu law.