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Kintyre

“Young and old gotta do ‘im togther- old people gotta learn the young fellas about that place. Country. Martumili (belonging to Martu).”

 – Wokka Taylor

Produced to be a part of FORM’s Tracks We Share project, Martu artists embarked the creation of a large-scale collaborative painting depicting the Country and stories of Kintyre. Martu filmmaker and FORM project officer Curtis Taylor, FORM project officer Greg Taylor/Annie McLoughlin and Martumili staff and artists travelled to Parnngurr to attend an intense period of art making and conversation. Under the tutelage and direction from their elders, young artists laid the groundwork for the painting, with elders adding layers of details and knowledge to these foundations. Created by 23 artists over 18 months, the resulting artwork brings together stories of jukurrpa (dreaming), pre-colonial Martu life, personal histories, and contemporary mining interference with the important site of Kintyre, located within the heart of Martu Country- Karlamilyi national park.

Martu artists were part of the Western Desert Lands Aboriginal Corporation (WDLAC) 2021 AGM in Newman and unveiled the 5x3metre collaborative ‘Kintyre’ artwork to Martu Native Title holders and their families.  This was part of the Martu discussion about making a native title claim over Karlamilyi National park. Martu used the ‘Kintyre’ artwork to tell stories of great cultural importance and personal significance about this ngurra (Country, homeland), and to tell WDLAC to keep going with its work on getting this country back into Martu hands. The following day, Martu Elders and leaders showed and explained the ‘Kintyre’ work to WA Minister for Aboriginal Affairs, Hon Stephen Dawson.  Martu and WDLAC signed a shared statement of intent with the Minister, binding the Government and Martu to work together for Martu native title over Karlamilyi, as well as housing and community development reforms for Punmu, Kunawarritji and Parnngurr.

Kintyre is a claypan located just north of the Karlamilyi (Rudall River) region. During the pujiman (traditional, desert dwelling) era, the site was a popular camping ground in the wantajarra (wet season), when the claypan filled with kapi (water). Today Kintyre is best known for its substantial uranium deposits, and the area has been developed for mining. Protest from traditional land owners in combination with a declining uranium market have resulted in the project being put on hold for the time being.

 

Categories: Shire of East Pilbara (Martumili Artists)

Name: Nola Ngalangka Taylor

Language: Manyjilyjarra

Community: Parnngurr

Biography:

Ngalangka was born at Wirrinyalkujarra, north east of Punmu. Her mother was Warnman and Ngaanyatjarra and her father was a Ngaanyatjarra man. When Ngalangka was a child, her family lived in the Percival Lakes area surrounding Wirnpa and Kirriwirri soaks. Here they often met with Martu families coming from the north and west. Although her family knew about whitefellas and station and mission life, Ngalangka’s father was determined to remain living in the desert.

During a journey north to see Ngalangka’s two sisters in the Ngurarra (Joanna Springs) area, her father became critically ill. As the desert population continued to decrease, Ngalangka's family met with the Biljabu family. Together they lived in the Karlamilyi (Rudall River) region for a time. When Ngalangka’s father died, her family decided to move to Jigalong Mission, and in 1965 they walked into Balfour Downs Station. There they were picked up by Jigalong Mission staff. Ngalangka, like many others, felt a profound and long lasting sadness after having to leave her Country and adjust to life in a mission.

In Jigalong she began schooling, and continued her studies in Port Hedland. Subsequently Ngalangka moved to Strelley Aboriginal community, and then again to Jigalong. In Jigalong she was employed as a health worker, and here she remained until she married Nyarrie Morgan. Together Ngalangka and Nyarrie moved to Parnngurr Aboriginal community, where they continue to live as respected elders and community leaders with their children and grandchildren.

Ngalangka started painting with Martumili Artists in both oils and acrylics in 2000 and began weaving baskets in 2001. As a cultural advisor and translator she has been instrumental in the establishment and development of the group, and continues to tirelessly support Martu artists.

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