111581942614



Waterhole

This work depicts a waterhole within the artists’ ngurra (home Country, camp), typically represented with circular forms. Waterholes are sites that require maintenance, including digging to increase flow, clearing out surrounding growth, and cleaning up after sullying by camels or cattle.

During the pujiman (traditional, desert dwelling) period, knowledge of water sources was critical for survival, and today Martu Country is still defined in terms of the location and type of water. Each of the hundreds of claypans, rockholes, waterholes, soaks and springs found in the Martu desert homelands is known through real life experience and the recounting of Jukurrpa (Dreaming) narratives by name, location, quality and seasonal availability. This encyclopedic knowledge extends even to the nature and movement of arterial waterways, and sustained Martu as they travelled across their Country, hunting and gathering, visiting family, and fulfilling ceremonial obligations. They would traverse very large distances annually, visiting specific areas in the dry and wet season depending on the availability of water and the corresponding cycles of plant and animal life on which hunting and gathering bush tucker was reliant.

111581942611



Kaalpa (Kalypa, Canning Stock route 23)

“Kaalpa (Kalypa, Canning Stock Route Well 23) is my grandfather’s Country. There’s a waterhole there, Kaalpa waterhole. It’s my two pops’ Country. They been walking around, hunting around Kaalpa. You can see a yapu (rock), warla (lake), claypans, karru (creek) and tuwa (sandhills) there. It’s on the [Canning] Stock Route, it’s Well 23.  

In pujiman (traditional, desert dwelling) days, pujimanpa (desert born people) walking around all this Country. My pops told me about that place, a big flat area, parlkarra (flat country) good for hunting parnajarrpa (goanna), lunki (witchetty grub), lungkurta (blue tongue lizard), wamurla (bush tomato), jinyjiwirrilyi (wild gooseberry). Kaalpa is a busy place for emus getting a drink. 

I went [to Kaalpa] for the first time [in 2018] on a Martumili KJ (Kanyirninpa Jukurrpa) trip. I went hunting there, got a parnajarrpa. When I went there, I was pukurlpa (happy). It made you open up your spirit, it feels like home.”

 – Corban Clause Williams

Kaalpa is a permanent water source located northeast of Kumpupirntily (Kumpupintily, Lake Disappointment). This site is a place of great cultural significance, and is also known for good hunting. Adjacent to the waterhole is a hill of the same name. The landscape around Kaalpa is parlkarra, bordered by tali (sandhills) stretching as far as Windy Corner, northeast and towards the border of Western Australia and the Northern Territory. The large and dangerous Jukurrpa (Dreamtime) mosquito and fly beings partially created the landforms in this area and continue to live underground here.

Kaalpa also features in the Minyipuru (Jakulyukulyu, Seven Sisters) Jukurrpa, a central creation narrative for Martu, Ngaanyatjarra, Pitjantjatjara and Yankunytjatjara people that is associated with the seasonal Pleiades star constellation. At Kaalpa the Minyipuru met a group of men; it was the first time either group had seen members of the opposite sex. The men tried to grab the women, but the Minyipuru chased them, hitting them with their digging sticks leaving them lying there as they continued travelling east.

Minyipuru is 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. Beginning in Roebourne on the west coast of Western Australia, the story morphs in its movement eastward across the land, following the women as they walk, dance, and even fly from waterhole to waterhole. As they travel the women camp, sing, wash, dance and gather food, leaving markers in the landscape and creating landforms that remain to this day, such as groupings of rocks and trees, grinding stones and seeds. During the entirety of their journey the women are pursued by a lustful old man, Yurla, although interactions with other animals, groups of men, and spirit beings are also chronicled in the narrative.

The intersection of the Canning Stock Route with Kaalpa 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 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.

111581942609



Kaalpa (Kalypa, Canning Stock route 23)- Corban Clause Williams

“Kaalpa (Kalypa, Canning Stock Route Well 23) is my grandfather’s Country. There’s a waterhole there, Kaalpa waterhole. It’s my two pops’ Country. They been walking around, hunting around Kaalpa. You can see a yapu (rock), warla (lake), claypans, karru (creek) and tuwa (sandhills) there. It’s on the [Canning] Stock Route, it’s Well 23.  

In pujiman (traditional, desert dwelling) days, pujimanpa (desert born people) walking around all this Country. My pops told me about that place, a big flat area, parlkarra (flat country) good for hunting parnajarrpa (goanna), lunki (witchetty grub), lungkurta (blue tongue lizard), wamurla (bush tomato), jinyjiwirrilyi (wild gooseberry). Kaalpa is a busy place for emus getting a drink. 

I went [to Kaalpa] for the first time [in 2018] on a Martumili KJ (Kanyirninpa Jukurrpa) trip. I went hunting there, got a parnajarrpa. When I went there, I was pukurlpa (happy). It made you open up your spirit, it feels like home.”

 – Corban Clause Williams

Kaalpa is a permanent water source located northeast of Kumpupirntily (Kumpupintily, Lake Disappointment). This site is a place of great cultural significance, and is also known for good hunting. Adjacent to the waterhole is a hill of the same name. The landscape around Kaalpa is parlkarra, bordered by tali (sandhills) stretching as far as Windy Corner, northeast and towards the border of Western Australia and the Northern Territory. The large and dangerous Jukurrpa (Dreamtime) mosquito and fly beings partially created the landforms in this area and continue to live underground here.

Kaalpa also features in the Minyipuru (Jakulyukulyu, Seven Sisters) Jukurrpa, a central creation narrative for Martu, Ngaanyatjarra, Pitjantjatjara and Yankunytjatjara people that is associated with the seasonal Pleiades star constellation. At Kaalpa the Minyipuru met a group of men; it was the first time either group had seen members of the opposite sex. The men tried to grab the women, but the Minyipuru chased them, hitting them with their digging sticks leaving them lying there as they continued travelling east.

Minyipuru is 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. Beginning in Roebourne on the west coast of Western Australia, the story morphs in its movement eastward across the land, following the women as they walk, dance, and even fly from waterhole to waterhole. As they travel the women camp, sing, wash, dance and gather food, leaving markers in the landscape and creating landforms that remain to this day, such as groupings of rocks and trees, grinding stones and seeds. During the entirety of their journey the women are pursued by a lustful old man, Yurla, although interactions with other animals, groups of men, and spirit beings are also chronicled in the narrative.

The intersection of the Canning Stock Route with Kaalpa 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 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.

111581942661



Karlamilyi

“This Karlamilyi area, big land. That’s a ngurra (home Country, camp) belonging to our old people, Warnman people. We talk for our land, our jila (snake). I grew up in this Country, my Country. This land belongs to our father. In pujiman (traditional, desert dwelling) days I walked around here, used to walk up and down tuwa (sandhill) and back to the main camp belonging to Martu. 

That river running through, he called Pirnpi. Whitefella way is Rudall River. There’s a bird, karuwarlkun (magpie), flying and singing everywhere in the Rudall River there. The river is flowing to Lake Dora, it has five waterholes in the river system. Outside of the river are creeks and gullies, the salt lake, Lake Dora, and the sand dunes.

There’s a claypan there too, big claypan, close to Walirrlirri. Pangkartal we call him. There’s a big rain there, rain time. Fill him up water when the rain time comes. Snake living there in Pangkartal, big one. He [the snake] going to listen to the owner of the land. When we sing out to him in a Warnman way, we tell him “Stop, don’t get cheeky. We coming in [to the land].” He not cheeky, he a good one. Quiet snake.

At Nyayartakujarra (Lake Dora), [in the north east of the region,] two snakes been killed. Right here they got crook in the Dreamtime. All the men, Ngaanyatjarra and Warnman, they were singing. One young fella, he threw a spear into the snake. That snake felt something there, got killed and burned.

[West of Nyayartakujarra is] Yanytikuji, red hill over there. They working, doing the mining there now [at Yandicoogina Mine]. Next to Yanytikuji is a big claypan, Yalpalpa, main camp and a water. That’s a hunting place. Plenty of bush tucker round there; kanyjamarra (yam, bush carrot), like a carrot growing in the ground in the river bed there. You pull it out, just like a carrot! Lunki (witchetty grub), and jatarrpa, that’s like a seed, you gotta clean him up and grind it to make a flour wheat, make a damper in the waru (fire). We gonna get that seed and show you fellas. Minyarra (bush onion) there, and ngaputa (sweet, patterned green melon), they all grow in the river banks.

In the middle is Putarrluu, a yinta (permanent spring) where there are two snakes, a man and a woman snake. They are nyupa (partners), they stop here, it is their yinta. You can’t camp right at the big yinta because of the snakes. You have to get your water from the little soak. When we want to get water we talk to the snakes in Warnman, their language, and the snakes send the water to them.  

This one Wartararra area, [south of Yanytikuji,] but you can’t go through there. This one Pulikati [Hill] area, we used to go through a gap here. There is quicksand here. People don’t go there. We used to sing out for this water, from this side. The old people used to sing out to “Come on, send the water for me.” You can’t go through there, quicksand, not allowed.

Tintinmarran, bottom end of Rudall River [and southeast of Pulikati. There is a januku (waterfall) there, a big yapu (hill), two tuwa (sandhills), and jawirli (quondong) trees. All of the rivers run down through Tintinmarran before joining Rudall River. After all the kapi (water) joins the Rudall River it runs to Warnanjarra where it disappears underground and goes all the way up north to Derby.

I [Jatarr Lily Long] was born there in Karlamilyi River, that’s my Country. [I was born in] Jatarrngara, that’s the name for the place and that’s my name. That’s the living water place.

We are Warnman ladies, painting Kintyre and Karlamilyi. We can share this Country.”

 –Sisters Wurta Amy French and Jatarr Lily Long

Karlamilyi (Rudall River) is Warnman Country, located in the very heart of the Martu homelands. The Karlamilyi region is ngurra for sisters Wurta Amy French and Jatarr Lily Long. They travelled and camped extensively around this area with their family in their youth, and possess a great deal of knowledge of the region’s physical elements, resource distribution, and Jukurrpa (Dreaming) narratives.

The region is situated southwest of the Great Sandy Desert and northeast of the Little Sandy Desert. Spanning through the region is the epic Karlamilyi River, which runs north into Nyayartakujarra (Lake Dora), a large salt lake. The Broadhurst and Fingoon Ranges extend diagonally across the river’s path. The landscape is striking for its abundance of gorges and valleys carved by ice age glaciers, rugged cliffs, red tali (sand dunes), grasslands, sandstone and quartz rocky outcrops, and salt lakes. 

Across the whole region are hundreds of water sources; including waterholes, creeks, soaks, lakes, pools and rockholes. Lining the rivers are coolabah, walyji (river gum), yulbah (bats wing coral tree), and several species of acacia and hakea. Jalkuran (paperbark), kurrulyu/ mijarrpa (bloodwood) and jawirli (quandong) are found in the region’s valleys, and wikirrpa (desert oaks) and grasses in the sandplains. The area is abundant with bird species, jila, maruntu (goannas), red kangaroos and warlpaju (rock wallabies). The region is also home to remote aboriginal communities Punmu and Parnngurr.

According to two of the central Martu Jukurrpa narratives, the Karlamilyi River and its surrounds were created by the ancestral beings Jila Kujarra (Two Snakes) and the Wati Kujarra (Two Goanna Men) as they travelled across the lands.

111581942659



Karlamilyi

“This Karlamilyi area, big land. That’s a ngurra (home Country, camp) belonging to our old people, Warnman people. We talk for our land, our jila (snake). I grew up in this Country, my Country. This land belongs to our father. In pujiman (traditional, desert dwelling) days I walked around here, used to walk up and down tuwa (sandhill) and back to the main camp belonging to Martu. 

That river running through, he called Pirnpi. Whitefella way is Rudall River. There’s a bird, karuwarlkun (magpie), flying and singing everywhere in the Rudall River there. The river is flowing to Lake Dora, it has five waterholes in the river system. Outside of the river are creeks and gullies, the salt lake, Lake Dora, and the sand dunes.

There’s a claypan there too, big claypan, close to Walirrlirri. Pangkartal we call him. There’s a big rain there, rain time. Fill him up water when the rain time comes. Snake living there in Pangkartal, big one. He [the snake] going to listen to the owner of the land. When we sing out to him in a Warnman way, we tell him “Stop, don’t get cheeky. We coming in [to the land].” He not cheeky, he a good one. Quiet snake.

At Nyayartakujarra (Lake Dora), [in the north east of the region,] two snakes been killed. Right here they got crook in the Dreamtime. All the men, Ngaanyatjarra and Warnman, they were singing. One young fella, he threw a spear into the snake. That snake felt something there, got killed and burned.

[West of Nyayartakujarra is] Yanytikuji, red hill over there. They working, doing the mining there now [at Yandicoogina Mine]. Next to Yanytikuji is a big claypan, Yalpalpa, main camp and a water. That’s a hunting place. Plenty of bush tucker round there; kanyjamarra (yam, bush carrot), like a carrot growing in the ground in the river bed there. You pull it out, just like a carrot! Lunki (witchetty grub), and jatarrpa, that’s like a seed, you gotta clean him up and grind it to make a flour wheat, make a damper in the waru (fire). We gonna get that seed and show you fellas. Minyarra (bush onion) there, and ngaputa (sweet, patterned green melon), they all grow in the river banks.

In the middle is Putarrluu, a yinta (permanent spring) where there are two snakes, a man and a woman snake. They are nyupa (partners), they stop here, it is their yinta. You can’t camp right at the big yinta because of the snakes. You have to get your water from the little soak. When we want to get water we talk to the snakes in Warnman, their language, and the snakes send the water to them.  

This one Wartararra area, [south of Yanytikuji,] but you can’t go through there. This one Pulikati [Hill] area, we used to go through a gap here. There is quicksand here. People don’t go there. We used to sing out for this water, from this side. The old people used to sing out to “Come on, send the water for me.” You can’t go through there, quicksand, not allowed.

Tintinmarran, bottom end of Rudall River [and southeast of Pulikati. There is a januku (waterfall) there, a big yapu (hill), two tuwa (sandhills), and jawirli (quondong) trees. All of the rivers run down through Tintinmarran before joining Rudall River. After all the kapi (water) joins the Rudall River it runs to Warnanjarra where it disappears underground and goes all the way up north to Derby.

I [Jatarr Lily Long] was born there in Karlamilyi River, that’s my Country. [I was born in] Jatarrngara, that’s the name for the place and that’s my name. That’s the living water place.

We are Warnman ladies, painting Kintyre and Karlamilyi. We can share this Country.”

 –Sisters Wurta Amy French and Jatarr Lily Long

Karlamilyi (Rudall River) is Warnman Country, located in the very heart of the Martu homelands. The Karlamilyi region is ngurra for sisters Wurta Amy French and Jatarr Lily Long. They travelled and camped extensively around this area with their family in their youth, and possess a great deal of knowledge of the region’s physical elements, resource distribution, and Jukurrpa (Dreaming) narratives.

The region is situated southwest of the Great Sandy Desert and northeast of the Little Sandy Desert. Spanning through the region is the epic Karlamilyi River, which runs north into Nyayartakujarra (Lake Dora), a large salt lake. The Broadhurst and Fingoon Ranges extend diagonally across the river’s path. The landscape is striking for its abundance of gorges and valleys carved by ice age glaciers, rugged cliffs, red tali (sand dunes), grasslands, sandstone and quartz rocky outcrops, and salt lakes. 

Across the whole region are hundreds of water sources; including waterholes, creeks, soaks, lakes, pools and rockholes. Lining the rivers are coolabah, walyji (river gum), yulbah (bats wing coral tree), and several species of acacia and hakea. Jalkuran (paperbark), kurrulyu/ mijarrpa (bloodwood) and jawirli (quandong) are found in the region’s valleys, and wikirrpa (desert oaks) and grasses in the sandplains. The area is abundant with bird species, jila, maruntu (goannas), red kangaroos and warlpaju (rock wallabies). The region is also home to remote aboriginal communities Punmu and Parnngurr.

According to two of the central Martu Jukurrpa narratives, the Karlamilyi River and its surrounds were created by the ancestral beings Jila Kujarra (Two Snakes) and the Wati Kujarra (Two Goanna Men) as they travelled across the lands.

111581942913



Untitled

This is Kumpaya’s Country- her ‘ngurra’ (home Country, camp). People identify with their ngurra in terms of specific rights and responsibilities, and the possession of intimate knowledge of the physical and cultural properties of one’s Country. Painting ngurra, and in so doing sharing the Jukurrpa (Dreaming) stories and physical characteristics of that place, has today become an important means of cultural maintenance. 

Kumpaya’s ngurra encompasses the Country that she and her family walked in the pujiman (traditional, desert-dwelling) era. At this time she travelled nomadically with her own and other family groups, traversing an enormous tract of land around the middle section of the Canning Stock Route, and between Punmu Aboriginal community and Kiwirrkura, more than 500 kilometres eastward. 

Kumpaya was born close to Kiwirrkurra, a rockhole located in the Gibson Desert and to the south west of Lake McKay. She grew up, walked and hunted primarily around this area. As a young woman Kumpaya travelled westward, through to Kunawarritji (Canning Stock Route Well 33). She continued to live nomadically before eventually deciding to move to Jigalong Mission along with many other relatives following an extreme and prolonged drought in the 1960s. 

Portrayed in this work are features of Kumpaya’s ngurra, such as the striking salt lakes, dominant permanent red tali (sandhills), warta (trees, vegetation), and the individually named water sources she and her family camped at. These include Luurnkurangu, Karingkarra , Katarta, Pinkari, Pintu-pintu, Yanjiwara, Kunalimpi, Juntu-juntu (Canning Stock Route Well 30), Warla-warla (Canning Stock Route Well 31), Kunawarritji, Kinyu (Canning Stock Route Well 35), Natawalu (Canning Stock Route Well 40), and Kupankurlu. Rock holes, waterholes, soaks and springs were all extremely important sites for Martu people during the pujiman period, and are generally depicted with circular forms. 

The encyclopaedic knowledge of the location, quality and seasonal availability of the hundreds of water bodies found in one’s Country sustained Martu as they travelled across their Country, hunting and gathering, visiting family, and fulfilling ceremonial obligations. They would traverse very large distances annually, visiting specific areas in the dry and wet season depending on the availability of water and the corresponding cycles of plant and animal life on which hunting and gathering bush tucker was reliant. As they travelled and hunted they would also burn areas of Country, generating a greater diversity of plant and animal life.

111581942911



Untitled

“When Martu paint, it’s like a map. Martu draw story on the ground and on the canvas, and all the circle and line there are the hunting areas and different waters and tracks where people used to walk, and [some you] can’t cross, like boundaries. So nowadays you see a colourful painting and wonder what it is, but that’s how Martu tell story long ago. It’s not just a lovely painting, it’s a story and a songline and a history and everything that goes with it.” 

– Ngalangka Nola Taylor and Joshua Booth

This work portrays an area of Country that can be interpreted in multiple ways. Firstly, the image may be read as an aerial representation of a particular location known to the artist- either land that they or their family travelled, from the pujiman (traditional, desert dwelling) era to now. During the pujiman period, Martu would traverse very large distances annually in small family groups, moving seasonally from water source to water source, and hunting and gathering bush tucker as they went. At this time, one’s survival depended on their intimate knowledge of the location of resources; thus physical elements of Country, such as sources of kapi (water), tali (sandhills), different varieties of warta (trees, vegetation), ngarrini (camps), and jina (tracks) are typically recorded with the use of a use of a system of iconographic forms universally shared across the desert. 

An additional layer of meaning in the work relates to more intangible concepts; life cycles based around kalyu (rain, water) and waru (fire) are also often evident. A thousands of year old practice, fire burning continues to be carried out as both an aid for hunting and a means of land management today. As the Martu travelled and hunted they would burn tracts of land, ensuring plant and animal biodiversity and reducing the risk of unmanageable, spontaneous bush fires. The patchwork nature of regrowth is evident in many landscape works, with each of the five distinctive phases of fire burning visually described with respect to the cycle of burning and regrowth.  

Finally, metaphysical information relating to a location may also be recorded; Jukurrpa (Dreaming) narratives chronicle the creation of physical landmarks, and can be referenced through depictions of ceremonial sites, songlines, and markers left in the land. Very often, however, information relating to Jukurrpa is censored by omission, or alternatively painted over with dotted patterns.

111581942908



Kulyakartu

“My Country, Kulyakartu. I grew up there, from little boy to big boy grew up there.”

 – Muuki Taylor

This painting depicts Kulyakartu, Muuki’s ngurra (home Country, camp). Kulyakartu is located in the far north of the Martu homelands, near the Percival Lakes region of Western Australia’s Great Sandy Desert. Muuki has extensive knowledge of the Country in this region, where he grew up living traditionally during the pujiman (traditional, desert dwelling) days with his family. Kulyakartu is mostly grass Country where there is very good hunting. In particular parnajarrpa (goanna), wild cats, and lunki (witchetty grub) are found in abundance here. There is no permanent water source in Kulyakartu, so Muuki’s family would walk here annually following the wantajarra (wet season). During the yalijarra (hot, dry season) they would head south again to more permanent water.

Muuki paints Kulyakartu in all its different seasonal stages. Often visible in his work is the patchwork nature of regrowth subsequent to the practice of waru (fire) burning that assists with hunting, regenerates growth, and encourages greater diversity in plant and animal life. This mosaic patterning is aligned with the five distinct Martu cyclical phases of burning and regrowth. First is nyurnma (freshly burnt Country) when Muuki is “making waru”. Following nyurnma are the rains and subsequent 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 “when him finished”, four to six years post burning, and 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.

111581942906



Untitled

This is Wokka’s Country- his ‘ngurra’ (home Country, camp). People identify with their ngurra in terms of specific rights and responsibilities, and the possession of intimate knowledge of the physical and cultural properties of one’s Country. Painting ngurra, and in so doing sharing the Jukurrpa (Dreaming) stories and physical characteristics of that place, has today become an important means of cultural maintenance. 

Wokka’s ngurra encompasses the Country that he and his family walked in the pujiman (traditional, desert-dwelling) era. Wokka was born at Kaljali waterhole in the Kulyakartu area; flat, grass Country in the far north of the Martu homelands and close to the Percival Lakes region. In his youth Wokka’s family travelled hundreds of kilometres on foot, from the northern boundary of the Martu homelands through to Parrngurr, at the southern end of the Karlamily (Rudall River) region. They continued to live a pujiman (traditional, desert dweliing) lifestyle until being collected from Balfour Downs Station and taken to Jigalong Mission in the 1960s. They were one of the last Martu families to leave the desert. 

Portrayed in this work are features of Wokka’s ngurra, such as the dominant permanent red tali (sandhills), warta (trees, vegetation), and the individually named water sources he and his family camped at. These include Nyayartakujarra (Lake Dora), Nyukuwarta, Parnngurr, Paru, Matakurlu, Munkakulu, Wungungarlkulu, Jawalirli, Wirnpa, Yukuri, Matakurlu, Wangarru, Mirrpurn (also known as Jarntinti), Kil-kil (Kily-kily, Canning Stock Route Well 36), Pirningkujarra, and Ngaral. Rock holes, waterholes, soaks and springs were all extremely important sites for Martu people during the pujiman period, and are generally depicted with circular forms. 

The encyclopaedic knowledge of the location, quality and seasonal availability of the hundreds of water bodies found in one’s Country sustained Martu as they travelled across their Country, hunting and gathering, visiting family, and fulfilling ceremonial obligations. They would traverse very large distances annually, visiting specific areas in the dry and wet season depending on the availability of water and the corresponding cycles of plant and animal life on which hunting and gathering bush tucker was reliant. As they travelled and hunted they would also burn areas of Country, generating a greater diversity of plant and animal life.

111581942904



Nyurnma near Punmu

“Nyurnma- burnt area North from Punmu, sandhill Country.

One big one no yukuri (green) 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 kurrmalyi (sandhill Country) tuwa, tuwa, tuwa (many sandhill) and waru (fire)

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.”

Martu artists paint Country in all it’s different seasonal stages. Important to Martu, and to Martu Country, is the practice of waru (fire burning); a practice that assists with hunting, regenerates growth, and encourages greater diversity in plant and animal life. When Martu Country burns, mosaic fire scars are left on the Country, and patches of regeneration form a kind of mosaic pattern across the land. This is called nyurnma – burnt Country.  Waru is typically burnt in small, controlled areas, leaving a defined patchwork pattern of nyurnma in the land, across tali (sand hills), linyji (clay pans), parulyukurru (spinifex country) and pila (sandy plains). This patterning is clearly visible in Martumili Artists works, where they paint Country from an aerial perspective.