111581945046



Wantili (Warntili, Canning Stock Route Well 25)

“Wantili is my place, where I was born. It’s a place where everyone was living, its all of their ngura (home).

It’s the Jurkulpa (Dreaming) of that place all those claypans, a place where everyone comes together for ceremony and gatherings all meeting with different families. I went there with my aunt (Jakayu Biljabu) and my sister Kumpaya Girgirba, they told me the story of where I was born, in pujiman (traditional, desert dwelling) times. We walked all over the place, I was just a little one.”

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.

111581945045



Pitu (Separation Well)

“Ngurra me, my ngurra (this is my Country, my home). Mummy mili Pitu and Kulilu (My mother’s home Country is around the permanent springs of Pitu and Kulilu). I been born [at] Pitu. Two mummy, one daddy born there too there. Two yinta (permanent springs) [can be found in the area], one Pitu name. Kirti-kirti (hill kangaroos) everywhere there, good hunting Country. Jila (snake) resting there, dream time. Minyipuru (Jakulyukulyu, Seven Sisters), they travelled through Pitu.”

 –  Jakayu Biljabu

 “Jakayu paints the main yinta that sustained her family during the pujiman (traditional, desert dwelling) days. Pitu and Kulilu is part of Jakayu’s story, part of her home. It’s who she is. This painting shows Pitungakal ngurra, nyaku Kulilu, Jakayu’s ngurra (Jakayu paints looking towards her home Country, Pitu. From here she will see Kulilu, also her home Country). Jakayu walked around here with her mother and father and her two jarntu (dingoes) as a young girl. [This painting] shows the yinta, wattle shrubs and tuwa (sand hills) all around that place. Kalyukaja (plenty of water) all across that Country. Yinta, Kulilu, kalyukaja (that waterhole, Kulilu, is full of water). Pitu is serpent Country. That jila came across from Wirnpa [soak], travelling south through Pitu, making a big mob of kapi (water). Jila is an important ancestral spirit that mapped out that Country.”

 – Jakayu Biljabu, as translated by Glady’s Bidu (Jakayu’s niece and daughter in law)

Pitu (Separation Well) is an important cultural site and large soak located yulparirra (south) of Wuranu (Canning Stock Route Well 29) and Kulilu rockhole and soak. Pitu is Jakayu’s and her mother’s birthplace, and forms an integral part of her ngurra (home Country, camp). Jakayu grew up in this area; she knew the region intimately and travelled around here extensively with her family in her youth. During this time Jakayu’s family would regularly meet around here with fellow Martumili Artists Bugai Whyoulter and Ngamaru Bidu and their families.

As a site where fresh water was available all year, Pitu was an important camp and a meeting place for Kartujarra and Manyjilyjarra people during the pujiman era. At this time, 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 by name, location, quality and seasonal availability through real life experience and the recounting of Jukurrpa (Dreaming) narratives. 

In her account of the area, Jakayu refers to the Jukurrpa events that occurred in and around Pitu. Most significant is the journey of an ancestral rainmaking jila from the Percival Lakes region to Pitu, where it now resides. The Western Desert term jila is used interchangeably to describe springs considered to be ‘living’ waters and snakes, both of which play a central role in Martu culture and Jukurrpa. Of the many permanent springs in Martu Country, very few are ‘living waters’; waters inhabited by jila. Before they became snakes, these beings were men who made rain, formed the land and introduced cultural practices like ceremonies and ritual songs. Some of the men travelled the desert together, visiting one another, but they all ended their journeys at their chosen spring alone, transformed into a snake. Like Pitu, these important springs are named after their jila inhabitant. The Minyipuru also visited this site during their epic travels eastward across Australia. Minyipuru is a central Jukurrpa narrative for Martu, Ngaanyatjarra, Pitjantjatjara and Yankunytjatjara people that is associated with the seasonal Pleiades star constellation.

111581945044



Pitu (Separation Well)

“Ngurra me, my ngurra (this is my Country, my home). Mummy mili Pitu and Kulilu (My mother’s home Country is around the permanent springs of Pitu and Kulilu). I been born [at] Pitu. Two mummy, one daddy born there too there. Two yinta (permanent springs) [can be found in the area], one Pitu name. Kirti-kirti (hill kangaroos) everywhere there, good hunting Country. Jila (snake) resting there, dream time. Minyipuru (Jakulyukulyu, Seven Sisters), they travelled through Pitu.”

 –  Jakayu Biljabu

 “Jakayu paints the main yinta that sustained her family during the pujiman (traditional, desert dwelling) days. Pitu and Kulilu is part of Jakayu’s story, part of her home. It’s who she is. This painting shows Pitungakal ngurra, nyaku Kulilu, Jakayu’s ngurra (Jakayu paints looking towards her home Country, Pitu. From here she will see Kulilu, also her home Country). Jakayu walked around here with her mother and father and her two jarntu (dingoes) as a young girl. [This painting] shows the yinta, wattle shrubs and tuwa (sand hills) all around that place. Kalyukaja (plenty of water) all across that Country. Yinta, Kulilu, kalyukaja (that waterhole, Kulilu, is full of water). Pitu is serpent Country. That jila came across from Wirnpa [soak], travelling south through Pitu, making a big mob of kapi (water). Jila is an important ancestral spirit that mapped out that Country.”

 – Jakayu Biljabu, as translated by Glady’s Bidu (Jakayu’s niece and daughter in law)

Pitu (Separation Well) is an important cultural site and large soak located yulparirra (south) of Wuranu (Canning Stock Route Well 29) and Kulilu rockhole and soak. Pitu is Jakayu’s and her mother’s birthplace, and forms an integral part of her ngurra (home Country, camp). Jakayu grew up in this area; she knew the region intimately and travelled around here extensively with her family in her youth. During this time Jakayu’s family would regularly meet around here with fellow Martumili Artists Bugai Whyoulter and Ngamaru Bidu and their families.

As a site where fresh water was available all year, Pitu was an important camp and a meeting place for Kartujarra and Manyjilyjarra people during the pujiman era. At this time, 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 by name, location, quality and seasonal availability through real life experience and the recounting of Jukurrpa (Dreaming) narratives. 

In her account of the area, Jakayu refers to the Jukurrpa events that occurred in and around Pitu. Most significant is the journey of an ancestral rainmaking jila from the Percival Lakes region to Pitu, where it now resides. The Western Desert term jila is used interchangeably to describe springs considered to be ‘living’ waters and snakes, both of which play a central role in Martu culture and Jukurrpa. Of the many permanent springs in Martu Country, very few are ‘living waters’; waters inhabited by jila. Before they became snakes, these beings were men who made rain, formed the land and introduced cultural practices like ceremonies and ritual songs. Some of the men travelled the desert together, visiting one another, but they all ended their journeys at their chosen spring alone, transformed into a snake. Like Pitu, these important springs are named after their jila inhabitant. The Minyipuru also visited this site during their epic travels eastward across Australia. Minyipuru is a central Jukurrpa narrative for Martu, Ngaanyatjarra, Pitjantjatjara and Yankunytjatjara people that is associated with the seasonal Pleiades star constellation.

111581945043



Parnngurr Rockhole

“We were climbing Parnngurr hill; we were frightened. Kartiya (Europeans) would walk around, trying to catch Martu people. We would run up the hill and hide. We watched them catch people. We were eating flour that white people gave us. It was horrible. From [Parnngurr rockhole], we got in the truck and went with the white people to Jigalong. Kumpaya [Girgirba], Jakayu [Biljabu] and Ngamaru [Bidu], we were all on top of the hill looking at the white people.”

 – Bugai Whyoulter

Parnngurr rockhole is located just south of Parnngurr Aboriginal community. This site lies within Bugai’s ngurra (home Country, camp), the area which she knew intimately and travelled extensively with her family in her youth. For many Martu, including Bugai, Parnngurr also signifies the location at which their nomadic bush life came to an end. Poignantly described here by Bugai, it was here that a group of 29 Martu were picked up by the Native Welfare Department to be taken to Jigalong Mission in 1963. Collectively the group had come to the decision to move to the mission as a result of an extended drought, which had caused a scarcity in food and water resources. The group also wanted to join their families, who had already moved to Jigalong.

At the junction of three linguistic groups; Manyjilyjarra, Kartujarra, and Warnman, Parnngurr rockhole was a critical and permanent source of water during the pujiman (traditional, desert born) era that supported many ritual large gatherings. During this nomadic period families stopped and camped here depending on the seasonal availability of water and the corresponding cycles of plant and animal life on which hunting and gathering bush tucker was reliant. At Parnngurr and other similarly important camp sites families would meet for a time before moving to their next destination. Parnngurr and its surrounds are physically dominated by distinctively red tali (sandhills), covered sparingly with spinifex and low lying shrub.

Parnngurr is also an important site chronicled in the epic Jukurrpa (Dreaming) story of the Jakulyukulyu, or Minyipuru (Seven Sisters). The sisters stopped to rest on Parnngurr Hill before continuing on their long journey east. 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. 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.

111581945042



Wantili (Warntili, Canning Stock Route Well 25)

“Bugai always tells about Wantili (Warntili, Canning Stock Route Well 25) because she grew up around Wantili. Her family would travel between Wantili, Kaalpa, Juntu-juntu, Raarki, and Wuranu Wells along the Canning Stock Route. She paints around Wantili. She saw whitefellas there for the first time, Canning mob when they were travelling up and down the stock route with the bullock. She was a young girl walking around at Wantili. Big mob of people they been walking around there. Canning and his drovers were travelling, making the road. They were running away from those whitefellas, watching them from a long distance. She was a teenager when she was travelling around there with her four mothers and one daddy. They used to travel around in family groups, Bugai and Jakayu [Biljabu], and Jakayu’s nyupa (partner) Phillip Biljabu.” 

– Bugai Whyoulter, as translated by her grandson, Cyril Whyoulter

 

“I was just becoming a teenager, still travelling around with my mother and father. We were at Juntu-juntu, Wuranu, Raarki, Tiwa and Wantili. At Wantili we killed a cow, they were bringing cattle through from Kunawarritji … Wantili was a good place to make yakapiri (woven bark sandals).”

– Bugai Whyoulter as translated by Ngalangka Nola Taylor

 

Wantili, which forms the focus of much of Bugai’s work, is a large round jurnu (soak) and linyji (claypan) near Well 25 on the Canning Stock Route. The Wantili region is dominated by claypans surrounded by tuwa (sandhills), and Nyilangkurr, a prominent yapu (hill) is located close to the eastern 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 lies within Bugai’s ngurra (home Country, camp). As described in her account, Wantili was one of the sites she knew intimately and travelled extensively with her family and other family groups during the pujiman period. At this time, Martu would traverse very large distances annually, moving seasonally from water source to water source, and hunting and gathering bush tucker as they went. 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 by name, location, quality and seasonal availability through real life experience and the recounting of Jukurrpa (Dreaming) narratives. 

Wantili is also especially significant to Bugai as it was here that she saw whitefellas for the first time; drovers with their cattle travelling along the Canning Stock Route. The establishment of the route by Alfred Canning and his team in 1910 resulted in first contact with Europeans for many Martu, including Bugai and her family, then living a pujiman life in the desert. Encounters occurred between Martu, Europeans, and other Martu working as cattle drovers as they travelled and down the Stock Route from water source to water source. Increasingly, Martu 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 pujiman to move in from the desert. Bugai returned to the Wantili area as a young woman, when she herself drove cattle along the Stock Route.

Culturally, Wantili is an incredibly important 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 are created. Beyond these details much of the Jukurrpa 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.

111581945040



Kunawarritji rockholes

“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.

111581945038



Tali, Tuwa (Sandhills)

The traditional lands of the Martu people encompass the Great Sandy Desert and Rudall River regions of Western Australia, an enormous tract dominated by distinctive red tali, or tuwa (sandhills). These sandhills present an unforgiving landscape; sparse vegetation covers a seemingly never ending expanse of dunes, and yet these lands and the location of resources within them was known intimately by its pujiman (traditional, desert dwelling) inhabitants. At this time, Martu traversed very large distances annually in small family groups, moving from water source to water source through the harsh desert landscape with incredible stamina and resourcefulness. Travel was often undertaken at night, and when travelling during the day, Martu wore yakipiri (woven bark sandals) to protect their feet from the hot desert sand.

111581945037



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.

111581945036



Yilyara

Yilyara is one of several frequently visited yinta (permanent springs) located in the Country immediately surrounding Punmu Aboriginal community. Yilyara is located immediately east of Nyayartakujarra (Lake Dora), a vast and culturally significant salt lake in the north east section of the Karlamilyi River (Rudall River) region. Surrounding the site are the permanent tali (sandhills) typical of the area. 


Yilyara also features as a site in two important Jukurrpa narratives, Jila Kujarra (Two Snakes) and Wirnpa. Jila Kujarra is one of the key Jukurrpa narratives for the Martu. Though the story belongs to Warnman people, it is shared across the Western Desert with several other language groups. The narrative centres on the travels of two snakes as they are pursued by the Niminjarra, spiritual ancestors of the Warnman people. Wirnpa is one of the most powerful of the ancestral jila (snake) men and the last to travel the desert during the Jukurrpa. Wirnpa is a rainmaking jila whose travels are described in the songs and stories of many language groups across the Western Desert, even those far removed from his home site. In his epic travels, Wirnpa created a series of different laws and ceremonies.

111581945011



Jila (snake, living water)

“Snake lives there in the salt and comes from Mandora – inside the salt, and travels underground. Hide him out and goes underneath in the direction of the spring country from Mandora and Bidgydanga, in the direction of the coast. He is underground, same like jila[snake]. You are not allowed to dig that place or come close to the clay pans cause it’s the snake, the snake will eat you. He will come up and you will have to run, he will send the wind to drag you back in his ngurra. You can make a waru[fire] and he will go back into his home. Creek going this side salt on the other. Old line, that rabbit proof fence. This country follows that line, we use to follow that line from Punmu.”  

– Biddy Bunnawarrie

The Western Desert term jila is used interchangeably to describe springs considered to be ‘living’ waters and snakes, both of which play a central role in Martu culture and Jukurrpa (Dreaming).

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 of water sources. Of the many permanent springs in Martu Country, very few are ‘living waters’; waters inhabited by jila (powerful ancestral beings). Before they became snakes, these beings were men who made rain, formed the land and introduced cultural practices like ceremonies and ritual songs. Some of the men travelled the desert together, visiting one another, but they all ended their journeys at their chosen spring alone, transformed into a snake. These important springs are named after their jila inhabitant, guarding their waters. 

Some of the jila snakes are known by Martu as quiet and benevolent, others as dangerous and ‘cheeky’. Regardless of the nature of the inhabitant snake, jila sites must be entered respectfully; particular rituals are practiced, such as lighting fires, sweeping the ground with branches, approaching in single file, and calling out to the site’s jila to announce one’s arrival and introduce people who are new to the jila. Those who do not follow these guidelines are in danger of becoming sick, or even being killed.