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Yirrajarra

“Yirrajarra, good name. [In the] winter time, cold time, you gotta have a look. One side two claypan , another side soak water. Jamu mili (my grandfather’s) Country. I been walking there with my mummy, daddy, [and my sisters] Mayiwalku [May Chapman], Mulyatingki [Marney]. All walking around pujiman (traditional, desert dwelling) time”

– Nyanjilpayi (Ngarnjapayi) Nancy Chapman

Yirrajarra comprises of two soaks situated near Lake Auld, and north of Tiwa (Canning Stock Route Well 26). As the site of a continuous source of good fresh water, surrounded by plentiful puri (shade), Yirrajarra was an important semi-permanent camping ground during the pujiman era. This site lies within Nyanjilpayi’s ngurra (home Country, camp) through her grandfather, and forms part of the area which she knew intimately and travelled extensively with her mother, father and two sisters in her youth. 

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 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.

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Jarntinti

Mirrpurn is a large claypan at the southern end of Nyayartakujarra (Lake Dora), a large salt lake surrounded by tali (sand hills) within the Karlamilyi (Rudall River) region. During the pujiman (traditional, desert dwelling) era, Mirrpurn was primarily used as a camping site in the wantajarra (wet season), when the claypan filled with kapi (water). Other nearby water sources include Tarl, Kartuny, Wawul, Warnkarr, Jutupa, and Kunalimpi. 

Mirrpurn is also known as a site where kalaru (Samphire, salt bush) grows in abundance. In the pujiman era, the black kalaru seeds were seasonally harvested from this area. Once collected a labour intensive process began to produce damper, a type of flat bread. The kalaru seeds were first washed several times before being ground with a jiwa (stones used by women for grinding seeds) to make a type of flour, which was then mixed with water to create a dough that was finally cooked in the ashes of a fire.

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Ocean Dreaming

In the beginning, the Great Spirit of the Sea created the vast and endless ocean, a place of beauty and mystery. She painted the waters with her brush of foam and painted the sky with her brush of clouds. The waves became her canvas, and she used them to tell the stories of the Dreamtime.

The Dreamtime stories tell of the creation of the world and the adventures of the spirit beings. They are stories of magic and wonder, of love and loss, of joy and sorrow. And in my emotive abstract ocean painting, I have tried to capture the essence of these stories.

The swirling forms and vibrant colors are the spirits of the sea, dancing and singing on the waves. The brushstrokes are the trails they leave behind as they journey through the Dreamtime. And the emotions that the painting evokes are the feelings that the Great Spirit of the Sea wants to share with us, to remind us of the magic and mystery of the ocean, and of the Dreamtime stories that are told upon its waves.