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Wantili (Warntili, Canning Stock Route Well 25)

Wantili (Warntili, Canning Stock Route Well 25) is a large round jurnu (soak) and linyji (claypan) near Well 25 on the Canning Stock Route. The area is dominated by claypans surrounded by tuwa (sandhills), and Nyilangkurr, a prominent yapu (hill) is located on the edge of the claypan. Following rain the typically dry claypans are filled with water, with the overflow from nearby waterholes flowing to Wantili. At that time, Wantili becomes an important place for obtaining fresh water for drinking and bathing. Wantili is significant for the fact that at this site Kartujarra, Manyjilyjarra, Putijarra and Warnman people would all come together for ceremonies during the pujiman (traditional, desert dwelling) era. Many jiwa (stones used by women for grinding seeds) from these times can still be found there today. 

Wantili is an incredibly important cultural site, ‘where the creation started.’ (Cyril Whyoulter). In this creation story, the world was initially dark, and people were like rocks, with no arms or legs. Following the sun’s first rising, life-forms become increasingly complex while particular features in the land were created. Beyond these details much of the Jukurrpa (Dreaming) narrative relating to Wantili is ngurlu (sacred, taboo), and only for Martu, but the site is open, and anyone can go there. 

Wantili is also one of the many sites featured in the epic Minyipuru (Jakulyukulyu, Seven Sisters) Jukurrpa story. Minyipuru 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. The story follows the movement of a group of women travelling all the way across the desert, beginning at Roebourne on the coast of Western Australia, as they are pursued by Yurla, a lustful old man. As the women travelled, they stopped to rest at many sites to eat, dance, rest and sing, on the way leaving behind an assortment of articles that became formations in the land, such as groupings of rocks and trees, grinding stones and seeds. The sisters rested at Wantili before throwing seeds, then continued their journey far to the east and beyond Martu Country, stopping at various sites through central and South Australia.

The intersection of the Canning Stock Route with Wantili also made this a site of early contact with Europeans for many Martu then living a pujiman life in the desert. Following the route’s construction, Martu encountered Europeans and other Martu working as cattle drovers as they would travel up and down the Stock Route from water source to water source. Increasingly, pujimanpa (desert dwellers) followed the route to newly established ration depots, mission and pastoral stations. They were drawn to the route in search of food, by a sense of curiosity, or by loneliness. By the late 1950s and early 1960s, most of the desert family groups had left the desert. Eventually, these factors combined with an extreme and prolonged drought in the 1960s to prompt the few remaining pujimanpa to move in from the desert.

Name: Corban Bamba Clause Williams


Language: Manyjilyjarra


Community: Parnngurr


Biography:

“My name is Corban Clause Williams. I was born in Newman hospital. Mum, Dad, Nanna and Pop lived in Jigalong before, but they moved into town before I was born. I’m one of seven children. I grew up in Newman- this is my home. I like to travel but I worry about home. When I was younger I went to Newman Primary School and Newman Senior High School.

My Nanna and Pop used to take us out hunting for bush tucker. I’d help them make a fire and tea. Me and Pop would go out to the swamp area between Newman and Kumarina. Nan, Pop, Mum and Dad would tell funny stories about our family and make me laugh.

I work at Martumili, helping to sell the paintings and get the canvas ready. With Martumili I travelled too. Gold Coast was my first big trip and [I've been to] Perth, Adelaide, Sydney and Paris. 

I'm [also] a Martumili artist. I come to Martumili to paint about my Country, where my grandfather walked around and collected food, and visited the same rockholes I do. I paint to keep my culture and stories and share with others. Sometimes I paint with my nanna Jakayu [Biljabu] (dec.). I learn from her a little bit. My skin name is Milangka, and Kaalpa (Kalypa, Canning Stock Route Well 23) is my grandfather’s Country. I was really happy to go see my grandfather's Country- pukurlpa (happy). When I paint I feel like its home. Doing it on the canvas, I feel like I'm standing there back at home."

Corban Clause Williams 

 

Corban Clause Williams is one of the most prominent emerging artists from the younger generation of Martumili Artists. As a teenager, Corban began working at Martumili, helping to sell artworks and prepare canvases. Over time, he began painting collaboratively with his Nanna Jakayu Biljabu (dec.). His works today frequently depict his grandfather’s Country, Kaalpa (Kalypa, Canning Stock Route Well 23), a landscape imbued with deep cultural significance.

Corban has exhibited widely in Australia and internationally, with notable exhibitions including Belonging to Martu (Harvey Arts Project, Idaho, US, 2020), Tracks We Share (Art Gallery of Western Australia, 2022), and Le Chant Aborigene des Sept Soeurs (IDAIA, Paris, 2023). He was a finalist in the prestigious Telstra National Aboriginal & Torres Strait Islander Art Award (NATSIAA, 2023) and won the MA Financial Award at Sydney Contemporary (2023). His works are held in major collections, including The Art Gallery of Western Australia and the MacQuarie Collection.


© the artist / art centre