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Published by CompNet Systems on

Nyurnma (Freshly Burnt Country) near Punmu (2018) – Wokka Taylor

“Nyurnma (freshly burnt Country), burnt area north from Punmu [in]sandhill Country.

One big one, no yukuri (green grass, vegetation) left. Last year [2018], no rain yet. Big area. From lighting did it, it started that waru (fire). It kept burning from the westerly wind turning it kakarra (east) [moves hands around gesturing the fire moving around]. That burning was moving around. No rocks, only tuwa (sandhills) tuwa, tuwa and waru.

I went up in the helicopter from Punmu and saw that Country. That time the waru finished. The country was clear- good for hunting, you can easily see the tracks. Plenty parnajarrpa (sand goanna) there, big one. Nyurnma only. It was a no good feeling- really big one, out of control [The fire was burning a large area of Country and became out of control].

Long time ago in pujiman (traditional, desert dwelling) times same way- big fires would start from lighting. Here is the red dirt, marked little bit like the colours left after a camp fire, but from lighting here now.”

– Wokka Taylor (dec.)

This work depicts Country around Punmu following a large and uncontrolled fire that resulted from a lightning storm in 2018. This type of fire differs to the controlled fire burning as it continues to be practiced through the Martu homelands. Over thousands of years, as Martu travelled and hunted on foot they would burn tracts of land, using waru as a means to assist with hunting, to encourage regenerative growth, and to increase biodiversity.

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 like that depicted in this work. Remaining is a defined mosaic fire scar pattern in the land, across tali (sand dunes), linyji (claypans), parulyukurru (spinifex country) and pila (sandy plains).

Categories: Shire of East Pilbara (Martumili Artists)

Name: Marianne Burton

Language: Manyjilyjarra

Community: Punmu

Biography:

“I was born in Jigalong, long time [ago in] Jigalong. The old people all got picked up and brought into Jigalong. Them old people all wanted to go back to the desert. We moved to Camp 61 [Ngalkuninya] for a little while and then we all moved this way to Punmu. I was young, thirteen or something when I came to Punmu.   

I like to paint around Punmu rockholes, springs.  In the morning, sunset colours, that’s what I’m thinking about. In the plane looking down, I want to do a painting what I’m looking at, it looks nice. I want to do more painting like that. I like painting, it makes me feel good.

I’ve been in Jigalong with my father, learning to paint. I was watching him paint. I stayed with them all day, sometimes I help[ed] him and he told stories. Doing the dot paint, that’s when I learn[ed] on a little canvas.”

- Marianne Burton

 

Marianne was born in Jigalong, moving briefly to Camp 61, an outstation on Bilanooka Station as a child, before settling in Punmu Community, where she still resides. Her father was senior Martu artist Pukina Burton. Marianne and her father used to sit down together, painting while Pukina told stories about his Country. One day Marianne would like to teach her children and grandchildren the same stories; “Me and [my granddaughter] Azaniah like painting together, sometimes she helps me too.  Sometimes my grandson Jake too, he did a couple.  I like having my family around to paint.” 

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