(b 1928; d 1982). Australian Aboriginal painter. He was a leader of the Ngaladharr Djambarrpuyngu clan, Dhuwa moiety, who lived at Milingimbi mission (later Milingimbi township) for most of his adult life. His clan country was at Djarraya, Napier Peninsula, and the totemic ancestor to which he had particular affiliation was Da:rrpa, King Brown Snake. According to Wells (pp. 229–30), Binyinyiwuy originally visited the mission only to raid the store or to ‘make havoc among the young women’, and he declared that he wanted nothing of white people or their ways. He was persuaded to settle when offered cash in return for bark paintings. He had a reputation among Yolngu of the Milingimbi region as a man of great knowledge. Together with his younger brother Djatijiwuy (b c. 1934), whose death in 1975 was a great blow, he was very active in the ritual life of the township and mainland community. The topics of Binyinyiwuy’s bark paintings between 1960 and 1982 included those belonging to the Djambarrpuyngu group: Da:rrpa (King Brown Snake), Milkmilk (Mosquito) and Banumbirr (Morning Star); the last appears to have been his favourite subject. Banumbirr is an exchange ceremony involving an exchange of gifts between two clan groups. Djambarrpuyngu people at Milingimbi performed this ceremony almost every year during the early 1970s, the years of Binyinyiwuy’s maturity as an elder. He also painted other topics belonging to his mother’s clan, Daygurrgurr Gupapuyngu, including Birrkuda (Honeybee), Dhupiditj (the male ancestral ‘boss’ of the Honeybee and the Nga:rra ceremony), Wurrpan (Emu) and Wan’kurra (Bandicoot). Topics belonging to his maternal grandmother’s clan, Liyagalawumirr (Dhuwa moiety), included the Ngulmarrk ceremony and Wititj or Yulunggur (Olive Python). His paintings are represented in the collection of the Australian National Gallery, Canberra.