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Au-gujechiya (fishtrap)

Au-gujechiya (fishtrap) sometimes portrayed with an-maka (cowtail stingray), rajarra (barramundi) and other fish inside. 

Elizabeth has permission from her djunkay to draw this historic and important object traditionally used to trap fish in rivers, creeks and estuaries. In the early wet season they swim upstream for breeding in creeks and billabongs, then downstream to spend the dry season in larger rivers. The traps would be set to face the oncoming fish, with woven fencing either side. Within the mouth of the trap is a woven funnel that guides the fish in and prevents their escape. The clever design ensures that only adult fish are caught as smaller fish can escape through the weaving or even through the funnel. The fish that are caught can survive in the trap for up to two months. Once the trap is removed, the end is untied to remove the fish. This sustainable design means the trap can be used again and again.

 

Elizabeth is from the Burrarra language group and her homeland is Gupanga, Arnhem Land.  

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Manwak (Mumeka blooms)

Manwak grows near Mumeka creek, on the artist’s homeland. This beautiful large flower blooms during the mandjelk (wet season). It has deep green petals with a central red kernel which swells to the size of a berry. It is known for its long, sweeping petals which seem to dance in the winds.

By dry season, the inside kernel resembles a strawberry in appearance and flavour, but is also very spicy so it burns our mouth. Kids and adults pick these berries enthusiastically when walking or going hunting on my country. The inside of the flowers are eaten fresh, a favourite manme (bush food) of our people.

“When I was painting this Manwak story, I was painting in Maningrida. In my head I was dreaming of being on my homeland, eating ripe Manwak berries”- Deborah Wurrkidj

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Untitled

This is Lorna’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. 

Though Lorna was born in the Port Hedland hospital and she attended school from a young age, she still lived a somewhat traditional pujiman (traditional, desert dwelling) lifestyle, travelling in the Country between Marble Bar and Roebourne with ‘nomad people’. Today Lorna lives in Warralong Aboriginal community, 50km north of Marble Bar.

Portrayed in this work are features of Lorna’s ngurra, such as the dominant permanent red tali (sandhills), warta (trees, vegetation), and the individually named water sources she and her family camped at.

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Untitled

This is Lorna’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. 

Though Lorna was born in the Port Hedland hospital and she attended school from a young age, she still lived a somewhat traditional pujiman (traditional, desert dwelling) lifestyle, travelling in the Country between Marble Bar and Roebourne with ‘nomad people’. Today Lorna lives in Warralong Aboriginal community, 50km north of Marble Bar.

Portrayed in this work are features of Lorna’s ngurra, such as the dominant permanent red tali (sandhills), warta (trees, vegetation), and the individually named water sources she and her family camped at.

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Wamala

“I like to paint bush foods and flowers but I just started painting my grandfather’s Country, I only saw that place when I was grown up. My mother grew up in Jigalong. I’ve been living there for many years in Warralong. I’ve got my family in Newman, stopping near Jigalong and moved this side. I had six kids. I was born in a station on Nyabali Country and my mother been take me from that station to Port Hedland.”

– Mary Rowlands

Depicted in this work are traditional types of bush tucker, their habitats, and their related hunting and gathering methods. 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. Whilst desert life has moved away from mobile hunter-gatherer subsistence throughout the course of the twentieth century, bush tucker continues to be a significant component of the modern Martu diet. Hunting and gathering bush tucker remains equally valuable as an important cultural practice that is passed on intergenerationally. Though hunting and gathering implements have been modernised, methods of harvesting, tracking and the use of fire burning to drive animals from their retreats are still commonly practiced today. 

Typically, animals hunted for their kuwiyi (meat) include kirti-kirti (euro kangaroo) and marlu (plains kangaroo), parnajarrpa (sand goanna), kipara (Australian bustard, bush turkey) and karlaya (emu). Lunki (witchetty grub) and wuukurta (honey ants) are dug from tree and bush trunks, or from underground nests. Popular mayi (plant food) includes minyarra (bush onion), collected from small, grass like plants; root vegetables dug from underground such as kulyu and mata (types of bush potato); and seeds such as kalaru (samphire, salt bush), yuwinyji, and marnkalpa (spinifex species). Jawirli (quondong), wamurla (bush tomatoes), jinyjiwirrily (wild gooseberry), ngaputa (melon), and karlkula (bush banana) are some of the most popular bush fruits. These are often collected in the wantajarra (cool season) and tuulpara (spring) months, along with juri (sweet) botanical gums and wama (nectar), obtained from various plant species. 

Traditional tools used for hunting and gathering bush tucker were carved from wanari (mulga), mulunturu (desert oak), yurungkura (river red gum) and mijarrpa (bloodwoods), and included kurlata (spears), jurna (hitting stick), karli (boomerangs), wana (digging-sticks), piti (timber bowls used for carrying food and water), and jiwa (grinding stones for grinding seeds into flour). While carved objects retain enormous social and ceremonial importance in Martu life, they are no longer used for hunting and gathering.