111581955292



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 ngurra (home).It’s the Jukurrpa (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.”

–Glady Bidu Kuru

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.

111581955288



Walking around waterholes looking for bushtucker

“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.

111581955283



Kaalpakarti (going to Kaalpa, Well 23)

“We went to Parnngurr for work, for painting. Then we decided with the KJ mob to organise a trip to go to Kaalpa (Canning Stock Route Well 23), a 1 night trip. So we went to Kaalpa slowly from Parnngurr, back up. We went in all the motorcars- the [KJ] Rangers and Martumili together. First we went handpump, had a lunch, then packed that up. Then we went to that old mine camp, had a look around there. Then we went to Wantili (Canning Stock Route Well 25)- big claypan. At Wantili we take some photos. Then we hit the Canning Stock Route, past windy corner, then Kartarru (Canning Stock Route Well 24). Went there, take some photos then we pulled in in the afternoon to Kaalpa- my grandfather’s ngurra (home Country), my Country. We had some sausages, chops, stories round the waru (fire). Swags out, good times, sleeping under the stars. Then it sprinkled rain, kapi (water) coming down. Then next day we went GJ Bore, went around and see that mailbox, seeing whose been there y’know [laughs, referring to a visitors book at the bore]. Then we went to these [gesturing at a section of the painting showing a cluster of circular shapes] waterholes, springs- new springs. I don’t know that name. Then we came around here past Seven Sisters [rock formation], past that man [rock formation], then we went back ngurra Parnngurr. We went back Parnngurr, then we decided to paint this journey where we went . We went together on that journey, and we painted the journey together.

It was the second time I’ve been to Kaalpa, I took my friends there- they’ve only seen my paintings of that place. So I took them there to see what it looks like, showed my friends my artwork as well. They could see the same colours of the yapu (hill), tuwa (sandhills), sky, little bit of lakes. My sister Tameo [Tamisha Williams] took some photographs of me at Kaalpa, with my Kaalpa painting.

This painting is marlpa (companionship)- me and Anya painting this one together. We were talking together, painting together, laughing, joking. And this painting is going to Perth for What Now exhibition . Wanjyalpa (What’s happening)? Me and Anya!”

– Corban Clause Williams

“That’s the first time I went to Kaalpa with Bamba [Corban]. That’s Yanjimi’s [Yanjimi Peter Rowlands] Country, that’s my pop’s Country. I was thinking about my pop when I was there. I was feeling happy in Kaalpa with Bamba and everyone there. Me and Bamba painted that place, we drew it first then we painted it. Me and Corban like to paint together, that’s my brother. And here we are painting Canning stock Route. We liked to paint together and send it to What Now exhibition, to Claremont, The Goods Shed!”

– Judith Anya Samson

Corban and Judith have together painted a visual depiction of a road trip taken to visit several sites, including Corban’s ancestral Country of Kaalpa. Senior Martu artists have often painted together where a story of mutual significance is conveyed, and in this way have produced many of the stunning, large scale collaborative works for which Martumili Artists are most well-known. Here the young artists have engaged in this established Martu practice of marlpa, or collaboration.

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.

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.

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.

 

111581955295



Kunawarritji Rockholes

 “These are the rockholes around Kunawarritji. My mum (Dulcie Gibbs Jugarda) painted the same. It’s my father’s country, he was born at Well 33. I’m painting Well 35 – Kinyu, all the way to Well 38 Wajaparni. This is a big place for us. It’s important. I went on a trip with Kanyirninpa Jukurrpa last year (2018) to visit all these rockholes.”

Kunawarritji is an important site in the Great Sandy Desert where multiple stories and histories intersect. Originally a spring water, at the turn of the 20th century Kunawarritji was converted to a well (Well 33) along the Canning Stock Route. Each year throughout the 1930-50s, the well became a site of contact between the drovers, their cattle, and desert families. Long before colonial history entered this country, other stories dominated this site. In the jukurrpa (dreaming), the Minyipuru (Seven Sisters) stopped here, where they transformed themselves into a distinctive group of trees that remain in the area between Kunawarritji and Nyipil (Well 34).

Today, Kunawarritji is a site of return, a place where people came back to continue their life in the desert with the formation of Kunawarritji community in the early 1980s. The community’s cultural significance endures, with the population swelling up to 1000 during cultural business.

 

111581955294



Kulyakartu

Kulyakartu; an area in the far north of the Martu homelands, near the Percival Lakes in the northern Great Sandy Desert. The artist’s elders have extensive knowledge of the Country in this region, where they grew up living traditionally during the pujiman (traditional, desert dwelling) days. Kulyakartu is mostly grass Country where there is very good hunting. There is no permanent water source in Kulyakartu,

111581955293



Kulyakartu

Kulyakartu; an area in the far north of the Martu homelands, near the Percival Lakes in the northern Great Sandy Desert. The artist’s elders have extensive knowledge of the Country in this region, where they grew up living traditionally during the pujiman (traditional, desert dwelling) days. Kulyakartu is mostly grass Country where there is very good hunting. There is no permanent water source in Kulyakartu,

111581955290



Wikiri (Midway Well)

Wikiri (Midway Well) is a large soak and claypan located southeast of Parnngurr Aboriginal community. A windmill has been built at the site to access the permanent underground water available there. The many foods and seeds found at Wikiri were left by ancestors in the Jukurrpa (Dreaming), Wirnpa and Jaramarra, rainmaking snakes that now reside around the Great Sandy Desert’s Percival Lakes region, and at the northernmost boundary of Martu Country. 

During the pujiman (traditional, desert dwelling) 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 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 narratives.

111581955289



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 ngurra (home).It’s the Jukurrpa (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.”

–Glady Bidu Kuru

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.

111581956062



Kunawarritji Rockholes

 “These are the rockholes around Kunawarritji. My mum (Dulcie Gibbs Jugarda) painted the same. It’s my father’s country, he was born at Well 33. I’m painting Well 35 – Kinyu, all the way to Well 38 Wajaparni. This is a big place for us. It’s important. I went on a trip with Kanyirninpa Jukurrpa last year (2018) to visit all these rockholes.”

Kunawarritji is an important site in the Great Sandy Desert where multiple stories and histories intersect. Originally a spring water, at the turn of the 20th century Kunawarritji was converted to a well (Well 33) along the Canning Stock Route. Each year throughout the 1930-50s, the well became a site of contact between the drovers, their cattle, and desert families. Long before colonial history entered this country, other stories dominated this site. In the jukurrpa (dreaming), the Minyipuru (Seven Sisters) stopped here, where they transformed themselves into a distinctive group of trees that remain in the area between Kunawarritji and Nyipil (Well 34).

Today, Kunawarritji is a site of return, a place where people came back to continue their life in the desert with the formation of Kunawarritji community in the early 1980s. The community’s cultural significance endures, with the population swelling up to 1000 during cultural business.