111982062199



Warraburnburn

In Burarra and Gun-nartpa languages the figure represented in this artwork is generally known as a wangarra ‘ghost spirit’. For the Warrawarra clan ghost spirits have their own particular characteristics and their own name – Warraburnburn.

The Warraburnburn and the closely related Galabarrbarr spirit (owned by the Balkarranga clan) are also manikay song topics.  The spirits are related to each other as maternal grandparent and grandchild, just as the people of Warrawarra and Balkarranga are. The dancing of the two ghost spirit figures forms the finale performance for funerals, and is the final goodbye to a deceased family member.

In many ways the Warraburnburn and Galabarrbarr ghost spirits are like people. They emerge from the patches of jungle on Warrawarra and Balkarranga country in the late afternoon and go hunting in family groups of men, women and children. They stay in contact with each other by calling out as the men hunt for fish and the women walk with their dillybags looking for vegetable food. 

The ghost spirits are associated closely with white ochre and artists commonly paint the bodies of carved figures in white. Different types of ghost spirit wear different patterns. Warraburnburn is decorated with uniform white dots while others are painted white all over. Some ghost spirits are shown with a design painted on their chest infilled with rarrk ‘cross-hatching’, the same designs that are painted onto japi an-guyinda ‘male initiations’. 

They also have supernatural characteristics including superhuman size (jarra anbaykarda ‘super tall’). They know the country intimately – some are malevolent towards humans and will lead people astray, taking them to unfamiliar and dangerous places. These malevolent spirits are likened to an-muburda ‘sorcerers’ and can conduct dangerous rituals that cause harm to people. Others are benign and will lead humans back to familiar paths and their own camps.

 

111982062198



Warraburnburn

In Burarra and Gun-nartpa languages the figure represented in this artwork is generally known as a wangarra ‘ghost spirit’. For the Warrawarra clan ghost spirits have their own particular characteristics and their own name – Warraburnburn.

The Warraburnburn and the closely related Galabarrbarr spirit (owned by the Balkarranga clan) are also manikay song topics.  The spirits are related to each other as maternal grandparent and grandchild, just as the people of Warrawarra and Balkarranga are. The dancing of the two ghost spirit figures forms the finale performance for funerals, and is the final goodbye to a deceased family member.

In many ways the Warraburnburn and Galabarrbarr ghost spirits are like people. They emerge from the patches of jungle on Warrawarra and Balkarranga country in the late afternoon and go hunting in family groups of men, women and children. They stay in contact with each other by calling out as the men hunt for fish and the women walk with their dillybags looking for vegetable food. 

The ghost spirits are associated closely with white ochre and artists commonly paint the bodies of carved figures in white. Different types of ghost spirit wear different patterns. Warraburnburn is decorated with uniform white dots while others are painted white all over. Some ghost spirits are shown with a design painted on their chest infilled with rarrk ‘cross-hatching’, the same designs that are painted onto japi an-guyinda ‘male initiations’. 

They also have supernatural characteristics including superhuman size (jarra anbaykarda ‘super tall’). They know the country intimately – some are malevolent towards humans and will lead people astray, taking them to unfamiliar and dangerous places. These malevolent spirits are likened to an-muburda ‘sorcerers’ and can conduct dangerous rituals that cause harm to people. Others are benign and will lead humans back to familiar paths and their own camps.

 

111982061588



Warraburnburn

In Burarra and Gun-nartpa languages the figure represented in this artwork is generally known as a wangarra ‘ghost spirit’. For the Warrawarra clan ghost spirits have their own particular characteristics and their own name – Warraburnburn.

The Warraburnburn and the closely related Galabarrbarr spirit (owned by the Balkarranga clan) are also manikay song topics.  The spirits are related to each other as maternal grandparent and grandchild, just as the people of Warrawarra and Balkarranga are. The dancing of the two ghost spirit figures forms the finale performance for funerals, and is the final goodbye to a deceased family member.

In many ways the Warraburnburn and Galabarrbarr ghost spirits are like people. They emerge from the patches of jungle on Warrawarra and Balkarranga country in the late afternoon and go hunting in family groups of men, women and children. They stay in contact with each other by calling out as the men hunt for fish and the women walk with their dillybags looking for vegetable food. 

The ghost spirits are associated closely with white ochre and artists commonly paint the bodies of carved figures in white. Different types of ghost spirit wear different patterns. Warraburnburn is decorated with uniform white dots while others are painted white all over. Some ghost spirits are shown with a design painted on their chest infilled with rarrk ‘cross-hatching’, the same designs that are painted onto japi an-guyinda ‘male initiations’. 

They also have supernatural characteristics including superhuman size (jarra anbaykarda ‘super tall’). They know the country intimately – some are malevolent towards humans and will lead people astray, taking them to unfamiliar and dangerous places. These malevolent spirits are likened to an-muburda ‘sorcerers’ and can conduct dangerous rituals that cause harm to people. Others are benign and will lead humans back to familiar paths and their own camps.

 

111982060954



Coil Basket

Coiling technique was introduced in the 1920s at Goulburn Island to the Maung people by missionaries and quickly spread to the mainland. Many artists produce coiled baskets of varied shapes, ranging from small round baskets to large oval baby baskets made from dyed pandanus. Artists combine colours and patterns to obtain intricate new graphic patterns.

111582061568



Kulyakartu

“Long time ago  I been there. It is my grandmothers, grandfathers, fathers, mothers country, Kulyakartu.  I am painting this particular place it keeps me connected, sense of belonging.  Tell my grandmothers story through my art.  Where she was born, I’m apart of that. 

It makes me feel proud painting.  Most important is telling the story behind the painting so people can understand where I am coming from.  Kulyakartu is our ngurra (home, country, camp).  I will continue telling the story through my art.”

– Derrick Butt

 

This painting depicts Kulyakartu, Derrick’s ancestral 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. 

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 the site was visited annually following the wantajarra (wet season).

111582061564



Kulyakartu

“Long time ago  I been there. It is my grandmothers, grandfathers, fathers, mothers country, Kulyakartu.  I am painting this particular place it keeps me connected, sense of belonging.  Tell my grandmothers story through my art.  Where she was born, I’m apart of that. 

It makes me feel proud painting.  Most important is telling the story behind the painting so people can understand where I am coming from.  Kulyakartu is our ngurra (home, country, camp).  I will continue telling the story through my art.”

– Derrick Butt

 

This painting depicts Kulyakartu, Derrick’s ancestral 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. 

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 the site was visited annually following the wantajarra (wet season).

111582061494



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.

111582061566



Kulyakartu

“Long time ago  I been there. It is my grandmothers, grandfathers, fathers, mothers country, Kulyakartu.  I am painting this particular place it keeps me connected, sense of belonging.  Tell my grandmothers story through my art.  Where she was born, I’m apart of that. 

It makes me feel proud painting.  Most important is telling the story behind the painting so people can understand where I am coming from.  Kulyakartu is our ngurra (home, country, camp).  I will continue telling the story through my art.”

– Derrick Butt

 

This painting depicts Kulyakartu, Derrick’s ancestral 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. 

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 the site was visited annually following the wantajarra (wet season).

111582061565



Kulyakartu

“Long time ago  I been there. It is my grandmothers, grandfathers, fathers, mothers country, Kulyakartu.  I am painting this particular place it keeps me connected, sense of belonging.  Tell my grandmothers story through my art.  Where she was born, I’m apart of that. 

It makes me feel proud painting.  Most important is telling the story behind the painting so people can understand where I am coming from.  Kulyakartu is our ngurra (home, country, camp).  I will continue telling the story through my art.”

– Derrick Butt

 

This painting depicts Kulyakartu, Derrick’s ancestral 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. 

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 the site was visited annually following the wantajarra (wet season).

111582061551



Kulyakartu

“Long time ago  I been there. It is my grandmothers, grandfathers, fathers, mothers country, Kulyakartu.  I am painting this particular place it keeps me connected, sense of belonging.  Tell my grandmothers story through my art.  Where she was born, I’m apart of that. 

It makes me feel proud painting.  Most important is telling the story behind the painting so people can understand where I am coming from.  Kulyakartu is our ngurra (home, country, camp).  I will continue telling the story through my art.”

– Derrick Butt

 

This painting depicts Kulyakartu, Derrick’s ancestral 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. 

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 the site was visited annually following the wantajarra (wet season).