Title: Head markings of the Jimu Jimu bird at the river by Misigobehi (the first nioge painting design of the ancestor Ahio); ancestor’s body designs, and Ömie mountains, leg tattoo design of the female ancestor (named Kamulola);

The borders and lines that run through the work are known as orriseegé or 'pathways' and provide a compositional framework for the designs. The or'e (path) designs are ancient and originate from the time of the Ancestors, They relate to the intricate footpaths that run through food gardens and garden plots.

The main design of parallel markings are an ancient nioge (barckloth) design associated with the ancestors of the Godibehi area. This design is know as Jimu Jimu sor'e. It is important to note here that Sahuoté clan Duvahe (Chief), Celestine Warina (Kaaru), also painted this important design onto nioge. This affirms the design does indeed have ancient origins for the Ömie. The ancestral story associated with this design is explained by the artist Josephina Mekio (Sela) and her family and clan at Godibehi—

The story of the ancestor Ahio at Misigobehi and how he created the first painted nioge (barkcloth) design of Jintu Jimu sori (the markings/stain on the bird's face):

A long time ago, when no Other people lived in Ömie territory, there was one male ancestor named Ahio who lived at a place called Misigobehi, in the land near present day Godibehi village. Ahio is a very important ancestor for the people of Godibehi. At Misigobehi, Ahio looked up into the sky and saw one bird and one fish flying. The bird and the fish felt hot so they flew down to the river to cool down and wash themselves. The bird washed itself by swimming on the surface of the river water, while the fish washed itself by swimming beneath the surface of the river water. The bird saw that the fish was washing itself very well under the water, while the bird really struggled to wash itself on the surface Of the water. After washing, the fish came up to the surface of the water. The bird complained about not having a good wash and got angry with the fish. The bird was so upset with the fish, it used a black palm club (stick) as a weapon to strike the fish in the head. But the bird missed the head of the fish when it struck. Then the fish defended itself and retaliated and hit the bird in the head. The face Of the bird was covered with blood from the fore- head, and the blood was running down from the forehead onto the bird' beak. Then Ahio observed the fish instructing the bird that when it flies, whenever it defecated, its faeces must not land on the ground, but must only land on the tree branches, especially Okri trees. Now when the bird wants to feed on nectar, it feeds on the nectar of revo revo flowers in one particular area. And then the fish stayed in the river for good, and the bird flew away into the bush.

The End.

Ahio observed the design Of the bloodstains on the forehead and facial feathers of the bird and was inspired to record the markings. So Ahio took the bark Of the tree, cleared the rough surface, and beat the white inner part of the bark and then put it in the sun to dry. Once the sheet of bark had dried, he painted the design of the Jimu Jimu sor'e onto the nioge (barkcloth).

Other designs seen in this painting:

The horizontal orriseegé bands contain ancestral body (tattoo) designs known as se'a hu'e. Historically, these tattoos were applied during the sacred Ujawé initiation rituals which were conducted underground in guai, isolated tattooing chambers.

The small black-infilled, repeated triangles in the inner orriseegé border are dahoru'e, Ömie mountains. This design relates to the sacred ancestral geography of Ömie territory.

The repeated, diagnonal black bands and chevrons are douhia'e soré, a leg tattoo design of the female ancestor named Kamuola.