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Ganalbingu – Banda (Long Necked Turtle)

The long necked turtle is a dreaming totem for the freshwater people, the Ganalbingu, whose country includes the World Heritage listed, Arafura Wetlands in Central Arnhem Land, Northern Territory

The Yolngu (people) of Arnhem Land originate from a spiritual source, fixed in a particular place in their land or the sea. These ‘Spiritual Reservoirs’ are often in the form of special waterholes made by Wangga (Creator Beings), long ago close to the beginning of time. These creator beings moved across the country side, shaping the land and implanting in each tract of country, the spiritual life force for the people who were to own it.

These creator spirits took many forms. When they gave the land to each group they also gave songs, dances, ceremony, the associated laws and language. The Creation story for Ganalbingu people took place near the middle section of the Glyde River where it becomes the Goyder River. Their land, Ngaliyindi, sits astride the Arafura Swamp in Central Arnhem Land. Some of their major Creative Beings include Banda (freshwater long neck turtle) and Yalman (water lilies).

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Woven Mat

Traditionally, Nganiyal (conical mats) were used as an insect screen when erected, and as a sitting mat when folded. They are used in Ceremony as well as a functional item. 

Nowadays, artists weave many different shapes including flat, round and oblong. 

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Marni

The Pilbara is a land of many beautiful colours. Its beauty blends into the mother earth and against the red, purple hills in the distance. In time and season, the yellow Wattles, Mulla and Sturt Pea bloom and the country comes alive with the wildflowers watered by the rain and heavy dew during the night. The land and our country also tells a wonderful story about our ancestor’s. They walk and lived on the land always gathering food such as fish from the river, hunting kangaroo & tracking goanna’s and also gathering bush fruits and medicine.

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Marni After the Rain

The Pilbara is a land of many beautiful colours. Its beauty blends into the mother earth and against the red, purple hills in the distance. In time and season, the yellow Wattles, Mulla and Sturt Pea bloom and the country comes alive with the wildflowers watered by the rain and heavy dew during the night. The land and our country also tells a wonderful story about our ancestor’s. They walk and lived on the land always gathering food such as fish from the river, hunting kangaroo & tracking goanna’s and also gathering bush fruits and medicine.

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Spinifex Country

In September, when we are looking for gum from the Blue Gum Tree, we walk through the spinifex country. We pick the gum when it is crystal colour, and we eat it, or put it into hot water to make it like a toffee. We call it sugar lolly.

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Status: Stock


History Beneath the Beauty

Woorrilbem holds a history. A blast from my grandmother’s past as a child she went to this billabong to collect the lily flowers, its bulb, mussels and other edible bush food to take back to her family. One particular day on a usual walk she saw two strange men way off in the distance. A manager on horse back and a black tracker leading a donkey with a sack on its back. They were tracking Aboriginal, Miriwoong people to work for the manager at the station. As the men came closer, my grandmother slipped into the billabong to hide until the men were out of sight. My grandmother then got out and started running as fast as she could back to her family, but it was too late as the strange men were already approaching the camp. With mixed emotions my grandmother spoke and pointed at the same time to the strange men, but the black tracker spoke in Miriwoong language and said they were friendly people looking for workers to work at the station for sugar, tea and tobacco as rations and brought flour to make bread as a peace offering, Some Miriwoong people did go to work for the strange manager man. My grandmother and her family stayed on country. If we don’t carry this story and tell our children the history of Woorrilbem and its beauty will take over and my grandmother’s Country will be lost and forgotten forever. The different coloured lily pads are my grandmothers emotions flowering through the billabong. The green lily pads are the original colours covering the history of my grandmother’s story. The straight lines represents the calm relaxing billabong before my grandmother entered the water.

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Puntawarri

“We camped here, me, my husband, my kids, not far from Jigalong. The old people used to live here and work here. The road goes from Jigalong, past Puntawarri, and then [continues to] the Canning Stock Route. There is a waterhole here where the old bush people used to go to in the pujiman (traditional, desert-dwelling) days while they were still walking around that Country.”

 – Dadda Samson 

Puntawarri is an important cultural area located on the middle stretches of the Canning Stock Route and east of the Jigalong Mission (now Jigalong Aboriginal community), where Dadda continues to live today. It is also the site of a now abandoned community, waterhole, creek and lake. Puntawarri’s close proximity to Jigalong Mission made it a popular site for Martu to visit during the ‘mission days’. While growing up at Jigalong Mission in the 1960’s, Dadda would return to Puntawarri every weekend to hunt and camp. 

For many Martu, like Dadda and her family, Jigalong Mission was the site where their pujiman lifestyle came to an end from the late 1940s as they transitioned to a life as stockmen and women working in cattle stations in the Pilbara region and beyond. In the wake of the extreme and prolonged drought of the 1960s, the last of the remaining pujimanpa (desert dwellers) were forced to move to missions like Jigalong, where a supply of food and water was assured. There, many Martu were reunited with family members that had already moved in from the desert.

The waterhole at Puntawarri is said to be populated by several kinds of ancestral jila (snakes), however the site is best known for its association with the Ngayurnangalku, fearsome ancestral cannibal beings. During the Jukurrpa (Dreaming) the Ngayurnangalku came together from all over the desert, first stopping near Puntawarri on their travels to Kumpupirntily (Kumpupintily, Lake Disappointment). At Kumpupirntily, they had a big meeting to debate whether or not they would continue to live as cannibals, and eventually came to the decision to stop eating people. That night, a female baby cannibal was born to the eastern Ngayurnangalku on the red sandhills at Puntawarri, where she continues to live today as the ‘big mummy’ Ngayurnangalku. Following protocol, the baby also had to be consulted by the group. She determined that the Ngayurnangalku should continue to eat people. Her decision divided the group, and from this point the group from the east continued to live as ‘bad’ cannibals at Kumpupirntily, while the group from the west became ‘good’, thereafter consuming only animals.

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Untitled

This is Dadda’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. Dadda’s ngurra encompasses her birthplace, Old Jigalong, and the Country that her family walked in the pujiman (traditional, desert-dwelling) era, around Mungkulu, Pinpi (Durba Springs), Pulyapulya (Sunday Well), and Puntawarri.

Portrayed in this work are features of Dadda’s family’s ngurra, such as the striking salt lakes, dominant permanent red tali (sandhills), warta (trees, vegetation), and the individually named water sources they 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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Yurl Yurl

“This is my brother Dusty’s country, he was born here. It is my country too but I was born at Jigalong. This country is the otherside of Puntawarri – my mother told me stories about this place. It’s good country.”

This painting depicts Yurl Yurl, located in the country surrounding Jigalong, where the artist lives. The artist’s home county lies to the east of Jigalong Community. While growing up at Jigalong mission, the artist returned to her home every weekend to hunt and camp.

Dadda is recognised as a great authority in Jigalong and is particularly knowledgeable about Country in that area. Many of her paintings have a hovering, vibrating quality that is thoroughly grounded in Country, jukurrpa (dreaming) and history, even while it challenges stereotypes of ‘traditional’ desert paintings.


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Puntawarri Minyipuru

This painting depicts Puntawarri, the artists’ family’s country. Puntawarri is on the middle stretches of the Canning Stock Route, near Well 17 also known as Durba Springs. Puntawarri is an important cultural area, east of the Jigalong Aboriginal Community, where the artist now lives with her family. The artist frequently travelled and hunted with her family in this area when she was a young girl, and is now teaching her grandchildren the stories for this country.

Minyipuru is an important jukurrpa (dreamtime) story about seven sisters that are travelling through the desert, running away from Yurla, a lustful old man. The man chases the wanti (women) all the way from Roebourne on the west coast, right through Martu country before flying east across Australia. Along the way they stop at many significant sites to camp, sing, dance and collect bush tucker, leaving markers in the landscape along the way. The many events and interactions with Yurla chronicled through the story create a culturally rich narrative that is associated with the Pleiades star constellation.