111581935226

Published by on



Minyipuru (Jakulyukulyu, Seven Sisters)

The term Jukurrpa is often translated in English as the ‘dreaming’, or ‘dreamtime’. It refers generally to the period in which the world was created by ancestral beings, who assumed both human and nonhuman forms. These beings shaped what had been a formless landscape; creating waters, plants, animals, and people. At the same time they provided cultural protocols for the people they created, as well as rules for interacting with the natural environment. At their journey’s end, the ancestral beings transformed themselves into important waters, hills, rocks, and even constellations. 

Minyipuru, or Jakulyukulyu (Seven Sisters) is a central Jukurrpa narrative for Martu, Ngaanyatjarra, Pitjantjatjara and Yankunytjatjara people that is associated with the seasonal Pleiades star constellation. Relayed in song, dance, stories and paintings, Minyipuru serves as a creation narrative, a source of information relating to the physical properties of the land, and an embodiment of Aboriginal cultural laws. When Martumili Artists was established in 2005, this was the first Jukurrpa story the artists agreed to paint for a broader public. 

Beginning in Roebourne on the west coast of Western Australia, the story morphs in its movement eastward across the land, following a group of women as they walk, dance, and even fly from waterhole to waterhole. As they travel the women camp, sing, wash, dance and gather food, leaving markers in the landscape and creating landforms that remain to this day, such as groupings of rocks and trees, grinding stones and seeds. During the entirety of their journey the women are pursued by a lustful old man, Yurla, although interactions with other animals, groups of men, and spirit beings are also chronicled.

Name: Muuki Taylor


Language: Manyjilyjarra


Community: Parnngurr


Biography:

“Long ago we were living pujiman (traditional, desert dwelling) [lifestyle]. Our people took us about and grew us up. We stayed around in the north and grew up around Punmu… and along the lake [Nyayartakujarra, Lake Dora] to Karlamilyi. We would [hunt] animals… eat kalaru (salt bush, samphire) seeds, [witchetty] grubs… [and] minta (botanical gum). 

We would see aeroplanes, then we would run and keep quiet in the bushes. We didn’t know what it was. We had never seen a white man… We stayed there, where there were no white men. We didn’t see any motorcars. Nothing… Then Aborigines and white men got us and took us to Jigalong.” 

Muuki Taylor as translated by Kanyirninpa Jukurrpa

 

Muuki was born around 1945 at Wayinkurangu, a soak located within the Percival Lakes region of the Great Sandy Desert. He is the eldest brother of fellow Martumili Artists Wokka Taylor (dec.) and Ngalangka Nola Taylor. In his youth Muuki’s family travelled hundreds of kilometres on foot, from the northern boundary of the Martu homelands through to Parrngurr, at the southern end of the Karlamily (Rudall River) region. They continued to live a pujiman (traditional, desert dweliing) lifestyle until being collected from Balfour Downs Station and taken to Jigalong Mission in the 1960s. They were one of the last Martu families to leave the desert. 

Muuki is a highly respected cultural leader, and is often called upon as an authority by other artists. In addition to painting with Martumili Artists, Muuki works as a senior cultural advisor for local Martu ranger group, Kanyirninpa Jukurrpa, where he provides invaluable advice and guidance.

Muuki paints his ngurra (home Country, camp) in the north of Martu Country, with a particular focus on Kulyakartu; flat, grass Country close to the Percival Lakes. He spent much time in this area in his youth, and has incredibly in depth knowledge of its resources, physical elements, seasonal life cycles and Jukurrpa (Dreaming) narratives. His works are encyclopaedic, detailing all aspects of Country from vanished roads to living water sources embedded within a subtle patina composed of hovering dots and brushstrokes. Muuki’s work has been exhibited widely across Australia and internationally, and acquired by the National Museum of Australia.


© the artist / art centre