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Waru (fire)

This work depicts the practice of fire burning as it continues to be used today through the Martu homelands. Over thousands of years, as Martu travelled and hunted on foot they would burn tracts of land, using waru (fire) as a means to assist with hunting and to encourage regenerative growth. Whilst fire burning practices have modernised in recent times, with Martu burning areas close to Aboriginal communities and along roads, or else further afield using helicopters and 4WDs with Indigenous ranger group Karnyirninpa Jukurrpa (KJ), the same objectives are met as those during pujiman (traditional, desert dwelling) times.

Targeted waru is an important tool in animal tracking. Small burns are lit to clear vegetation, expose burrows, and to allow for access to walk and track readily in exposed sands. Fires are typically burnt during cooler weather in small, controlled areas, reducing the risk of unmanageable, spontaneous bush fires whilst simultaneously providing diverse regenerating habitats. Remaining is a defined mosaic fire scar pattern in the land, across tali (sand dunes), linyji (clay pans), parulyukurru (spinifex country) and pila (sandy plains). This patterning is clearly visible from an aerial perspective, and becomes even more defined as new growth emerges. 

The patchwork nature of regrowth is aligned with the Martu cycle of burning and regrowth and its five distinct phases. First is nyurnma (freshly burnt Country), followed after the rains by waru-waru, when young, bright green plants start to grow. Nyukura occurs between one and three years after burning, when plants have matured and are fruiting and seeding. Manguu is four to six years post burning, when spinifex has matured to the point that it can be burned once again. Finally, kunarka signifies the time when spinifex and other plant species have become old growth, and pose a risk of destructive bushfires.

Name: Noreena Kadibil


Language: Putijarra


Community: Parnngurr


Biography:

"My country is Kajarra between wells 6 and 9 on the Canning Stock Route. This is my dad’s country and my grandfather’s and grandmother’s country. I only paint my grandfather’s and grandmother’s country, that’s our traditional lands. Jigalong belongs to the mob. I have other country but there’s other people mixed up in it. Mum was born in Savoury Creek. My grandmother used to live in Jigalong before Old Jigalong got started. I paint pictures of my country to keep it safe and to show my kids how to look after it." "I grew up in Wiluna and on Lake Violet Station. We moved to Jigalong in 1969 after my father passed away. I moved to Parnngurr with five children in 1984 (Murphy was the youngest), there was too much humbug in town, it’s a quieter place out here." Noreena was taught by her parents and grandparents about her traditional lands and how to survive in the bush. She has passed on this knowledge to her kids and grandkids as well as teaching them how to paint. Her mother Daisy had been taken from her family as a child and placed in the Moore River settlement. The film Rabbit Proof Fence tells Daisy's story.


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