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Story of Martu Land: Yarrkalpa (hunting)

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: Morika Biljabu


Language: Manyjilyjarra


Community: Punmu


Biography:

"I was born in Port Hedland in January 1988, my skin is Purungu. I’m a Martu girl. My first language is Manyjilyjarra and my second language is English. I grew up in Parnngurr and Punmu communities. When I was young, I didn’t know what was out in the desert. Even when I first took photos of Martu people, I didn’t really know what was going on. When the old people all started painting, I asked them what they were doing and they told me where their country was and taught me the country stories. I really love taking photos of the old people and they have been giving me a better idea of what they are doing when they paint. That was how I learned about the history of the Canning Stock Route and how they all lived in the desert. How they survived there. They all helped me a little bit. They helped me understand how I am connected to their paintings and related to all the families through the skin groups and how we are all connected to the country. It’s a big country. All the people seem to paint different stories, but it’s the same story underneath. We’re really all one people, with one big story and one big country." Morika has been assisting her grandmother, Jakayu Biljabu, on a series of significant works and learning more about her country. In 2009, Morika was nominated for the Prix Pictet, an international prize devoted to photography and sustainability.


© the artist / art centre