The heartland of Baardi (and Jawi) religious thought and practice lies in an area some 3 miles southwest of Cape Leveque, called
Ngamagun (at the water)/
Urgu (water). It is there that many of the key moments of the primordial creation of their world, in what they call
būar or the
dreaming, are grounded. The oldest supernatural beings in the Dampier peninsula thought-world were, firstly,
Galalaṇ, followed by
Minau. At some time, a young
culture hero, Djamar emerged from the sea at Bulgin and, after resting against a
paperbark tree for three days, struck out, whirling his
bullroarer, for the south, then dived back into the sea after turning west, only to emerge at Ngamagun creek. Going into the bush he cut down a
silver-blood tree, and split boards from it, which he fashioned into bullroarers that, as he went back at his campsite on the shore, he shoved into the stone-beds of the creek, forming a line of . He then walked on to
Djarindjin where, while seated on a rock, his hand was stung by a rock-fish he had caught underneath it. He found the blood tasty as he licked the wound, and stopped it with a wooden plug. Returning to Ngamagun, he let the blood from his arm drip into a trough of stone. This blood became his food, which he shared with his three unmothered sons: Nalja, Winindjibi and Glabi, and the ritual drink of Baardi men to this day. The three sons took different directions, with Nalja travelling east with the
tjuringa, Winindjibi went south introducing initiation rituals and dancing, while Glabi introduced the Law. He speared another fish at high tide and sang his way back to Ngamagun, collecting his and, on climbing the Burumar sandhill, swung it round while kneeling. The hair-string broke as he did so, and the bullroarer shot skyward, to rest at a celestial zone called 'With the Fleshless' (''''), i.e., at the realm of the dead, in the
Coalsack Nebula, a dark spot near the
Southern Cross. After his death, Djamar himself went to the Coalsack Nebula, and his presence may be represented by
BZ Crucis. Galalaṇ (perhaps "belonging to the long-ago"), was the primordial figure who endowed the landscape with names from the Bardi language as he traipsed all over what became their territory. He was an upright being, easily incensed by signs of greed in the allotment of food. He died when, angered by such behaviour, he channelled inland lake waters to the sea to allow fish and turtles to escape into the ocean and was speared by the outraged people at Gumiri, a waterhole located at Swan Point on the northernmost sector of the Dampier peninsula, and then thrown into the sea where he floated, and is known by the name of
Lulul/Lular (sharkman). He ascended to the realm of the dead (
Baugaranjara) where it covers and arc of 33°. The exact celestial coordinates are as follows: His figure can still be seen in the darker parts of the
Milky Way, on both sides of a line drawn from
Alpha Centauri to
Alpha Scorpionis, Antares. His right foot rests near
113 G of Lupus, and his left foot near
Lambda and
Upsilon Scorpionis. He bears on his head the feather of
white cockatoo, identified with the bright star, Alpha Centauri, and that of an owl represented by the darker
Beta Centauri. The whole figure extends over an arc of 33°.' Minau (perhaps "old timer"), the second creator figure, is associated with innovations that are viewed as negative compared the customs laid down by the predecessor Galalaṇ. He was polygamous, invented obscene dances, and introduced painful practices like circumcision and
subincision into initiatory rituals (
ololoṇ). The changes he wrought were associated with the transformation of Baardi parkland estates into
mulga scrub, perhaps with the advent of colonial cattle grazers. A fourth figure that came into prominence in Baardi lore is Djamba.
Worms found the cult dominant among the nearby
Yawuru by the early 1930s, yet all absent among the
Nyulnyulan speaking groups such as the
Jabirr Jabirr,
Nyulnyul and the Baardi, and hazarded the conjecture, with some evidence, that it came from the central Australian group, the
Arrernte, via the
Gugadja. This
Djamba, a prototypical figure in widespread Aboriginal lore characterized by crippled feet, is associated with the introduction of '
(ritual intercourse with exchanged women) matters, and instruments like the love bullroarer, '; magic daggers and spindle-shaped sticks used as points (
wadaṇara/durun), many associated with innovative sexually explicit corroborees and rites. All this bears strong resemblances to key features of the
Kunapipi ceremonies swept over northern Australia. Among the Baardi, there were those who assimilated these innovations to the Djamar cult, and others who, in deference and fealty to the moral example of the primal Dreaming spirit Galalaṇ. Bardi people could trace their connection to figures in the Dreaming via the presence of their '''' (child-soul), which is a contemporary witness to the primordial period. ==Social organisation and economy==