September 2021

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Warran

This painting encompasses many different layers of meaning for the artist. It represents an area of the artist’s Warran (country) where he lived and travelled traditionally during the pujiman (bush) days. The lines represent the tali (sand hills) that are prevalent in the Western Desert and the circles or squares represent different water sources. Rock holes, waterholes, soaks and springs were important sites for Martu people during pujiman days. The Martu lived very nomadically, moving from water source to water source, hunting and gathering bush tucker as they went. They would traverse very large distances, visiting some areas in the dry and some in the wet season depending on the availability of water.

 

As well as the physical characteristics of the land that the artist depicts are a lot of other elements that make up the deep relationship with country that the artist has. Different colours are used to portray different cycles based around kapi (rain) and waru (fire). Fire in particular is very important to Martu and they name all the cycles. Nyurnma means that the country has been freshly burnt, waru-waru is when there are green shoots and young plants, nyukura is when there are mature plants with edible fruit, manguu is when there is mature spinifex that is able to be burnt and kunarka is when there is elderly spinifex that is dying in the middle. There is also a lot of reference made to underground water sources and how they all link together. 

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Untitled

This is Wurta Amy French’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. 

Wurta’s ngurra encompasses the Country that she and her family walked in the pujiman (traditional, desert-dwelling) era. At this time Wurta travelled nomadically with her own and other family groups. The Country they traversed encompassed an enormous tract of land, all around the Karlamily (Rudall River) region and through to Tiwa (Canning Stock Route Well 26) .

Wurta was born at Wantili (Warntili, Canning Stock Route Well 25). She grew up, walked and hunted primarily around water sources Pangkartal, Yalpalpa, Walirrlirri, Yanytikuji, Wartararra, Tintinmarran, Pimurlu, Raarki (Canning Stock Route Well 27), and Tiwa. Her family 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 Wurta’s ngurra, such as the hills, gorges and valleys, warta (trees, vegetation), and the individually named water sources she and her family camped at. 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.

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Untitled

This is Bugai’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. 

Bugai’s ngurra encompasses the Country that she and her family walked in the pujiman (traditional, desert-dwelling) era. At this time Bugai travelled nomadically with her own and other family groups, most notably the Bidu family. The Country they traversed encompassed an enormous tract of land, with an aerial distance of more than 600 kilometres, from present day Balfour Downs Station to Kunawarritji (Canning Stock Route Well 33). Bugai was born at Pulkinya. She grew up, walked and hunted primarily around Parnngurr, Punmu, Kun Kun (Kuny-kuny) and Kunawarritji. As a young woman Bugai travelled with her husband through the Karlamilyi (Rudall River) region and up and down the Canning Stock Route, where she first met cattle drovers. 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 Bugai’s ngurra, such as the striking salt lakes, dominant permanent red tali (sandhills), warta (trees, vegetation), and the individually named water sources Bugai and her family camped at. These include Parnngurr, Martilirri, Wangkakalu, Kurta-kurta (Camel Rock), Pimurlu, Jilkupuka (Canning Stock Route Well 21), Kaalpa (Canning Stock Route Well 23), Kartarru (Canning Stock Route Well 24), Wantili (Warntili, Canning Stock Route Well 25), Tiwa (Canning Stock Route Well 26), Partujarrapirri, Raarki (Canning Stock Route Well 27), Wuranu (Canning Stock Route Well 29), Juntu- juntu (Canning Stock Route Well 30), and Kunawarritji. 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.

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Untitled

This is Bugai’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. 

Bugai’s ngurra encompasses the Country that she and her family walked in the pujiman (traditional, desert-dwelling) era. At this time Bugai travelled nomadically with her own and other family groups, most notably the Bidu family. The Country they traversed encompassed an enormous tract of land, with an aerial distance of more than 600 kilometres, from present day Balfour Downs Station to Kunawarritji (Canning Stock Route Well 33). Bugai was born at Pulkinya. She grew up, walked and hunted primarily around Parnngurr, Punmu, Kun Kun (Kuny-kuny) and Kunawarritji. As a young woman Bugai travelled with her husband through the Karlamilyi (Rudall River) region and up and down the Canning Stock Route, where she first met cattle drovers. 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 Bugai’s ngurra, such as the striking salt lakes, dominant permanent red tali (sandhills), warta (trees, vegetation), and the individually named water sources Bugai and her family camped at. These include Parnngurr, Martilirri, Wangkakalu, Kurta-kurta (Camel Rock), Pimurlu, Jilkupuka (Canning Stock Route Well 21), Kaalpa (Canning Stock Route Well 23), Kartarru (Canning Stock Route Well 24), Wantili (Warntili, Canning Stock Route Well 25), Tiwa (Canning Stock Route Well 26), Partujarrapirri, Raarki (Canning Stock Route Well 27), Wuranu (Canning Stock Route Well 29), Juntu- juntu (Canning Stock Route Well 30), and Kunawarritji. 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.

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Untitled

This is Bugai’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. 

Bugai’s ngurra encompasses the Country that she and her family walked in the pujiman (traditional, desert-dwelling) era. At this time Bugai travelled nomadically with her own and other family groups, most notably the Bidu family. The Country they traversed encompassed an enormous tract of land, with an aerial distance of more than 600 kilometres, from present day Balfour Downs Station to Kunawarritji (Canning Stock Route Well 33). Bugai was born at Pulkinya. She grew up, walked and hunted primarily around Parnngurr, Punmu, Kun Kun (Kuny-kuny) and Kunawarritji. As a young woman Bugai travelled with her husband through the Karlamilyi (Rudall River) region and up and down the Canning Stock Route, where she first met cattle drovers. 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 Bugai’s ngurra, such as the striking salt lakes, dominant permanent red tali (sandhills), warta (trees, vegetation), and the individually named water sources Bugai and her family camped at. These include Parnngurr, Martilirri, Wangkakalu, Kurta-kurta (Camel Rock), Pimurlu, Jilkupuka (Canning Stock Route Well 21), Kaalpa (Canning Stock Route Well 23), Kartarru (Canning Stock Route Well 24), Wantili (Warntili, Canning Stock Route Well 25), Tiwa (Canning Stock Route Well 26), Partujarrapirri, Raarki (Canning Stock Route Well 27), Wuranu (Canning Stock Route Well 29), Juntu- juntu (Canning Stock Route Well 30), and Kunawarritji. 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.

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Kartarru

“This Country is Bugai’s mother’s Country where they would stay for periods of time because they could hunt there and there was good, permanent kapi (water). Kartarru is Well 24 on the Canning Stock Route.“

– Bugai Whyoulter, as translated by Bugai’s grandson, Cyril Whyoulter

At Kartarru (Blue Hills Station, Canning Stock Route Well 24), located northeast of Kumpupirntily (Kumpupintily, Lake Disappointment), good drinking water is reliably available, and minyarra (bush onion) grows in seasonal abundance. For these reasons the site was a popular camping area during the pujiman (traditional, desert dwelling) era. Kartarru is also significant as a site in two important Jukurrpa (Dreaming) narratives, Wati Kujarra (Two Goanna Men) and Minyipuru (Jakulyukulyu, or Seven Sisters). 

Kartarru was a regular camp site for Bugai in her youth. At this time Bugai travelled nomadically with her own and other family groups, most notably the Bidu family. The Country they traversed encompassed an enormous tract of land, with an aerial distance of more than 600 kilometres, from present day Balfour Downs Station to Kunawarritji. Typically, families would travel together for a time before arranging to meet further along at another camp site. When they arrived at the meeting place, they would light a large waru (fire) so that the others would know where they were.

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Untitled

This is Bugai’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. 

Bugai’s ngurra encompasses the Country that she and her family walked in the pujiman (traditional, desert-dwelling) era. At this time Bugai travelled nomadically with her own and other family groups, most notably the Bidu family. The Country they traversed encompassed an enormous tract of land, with an aerial distance of more than 600 kilometres, from present day Balfour Downs Station to Kunawarritji (Canning Stock Route Well 33). Bugai was born at Pulkinya. She grew up, walked and hunted primarily around Parnngurr, Punmu, Kun Kun (Kuny-kuny) and Kunawarritji. As a young woman Bugai travelled with her husband through the Karlamilyi (Rudall River) region and up and down the Canning Stock Route, where she first met cattle drovers. 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 Bugai’s ngurra, such as the striking salt lakes, dominant permanent red tali (sandhills), warta (trees, vegetation), and the individually named water sources Bugai and her family camped at. These include Parnngurr, Martilirri, Wangkakalu, Kurta-kurta (Camel Rock), Pimurlu, Jilkupuka (Canning Stock Route Well 21), Kaalpa (Canning Stock Route Well 23), Kartarru (Canning Stock Route Well 24), Wantili (Warntili, Canning Stock Route Well 25), Tiwa (Canning Stock Route Well 26), Partujarrapirri, Raarki (Canning Stock Route Well 27), Wuranu (Canning Stock Route Well 29), Juntu- juntu (Canning Stock Route Well 30), and Kunawarritji. 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.

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Lyinji

This painting portrays the lyinji (clay pans) around Wantili, Wantili is also known as Well 24 on the Canning Stock Route.  The area is dominated by clay pans surrounded by tuwa (sandhills). This is the artist’s country where her and her family lived traditionally during the pujiman (bush) days. They lived very nomadically moving from water source to water source hunting and gathering bush tucker as they went. Primarily the artist’s family would travel up and down the Canning Stock Route and around the Parnngurr area traversing very large distances, visiting some areas in the dry and some in the wet season depending on the availability of water. As they travelled and hunted they would also burn areas of country creating a larger diversity of plant and animal life.