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Untitled

This is Miriam’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. Miriam’s ngurra encompasses her birthplace on Bulloo Downs Station, south east of Newman, and the Country that her family walked in the pujiman (traditional, desert-dwelling) era, from the southern end of the Canning Stock Route through to Kumpupirntily (Kumpupintily, Lake Disappointment)

Portrayed in this work are features of Miriam’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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Pitu

“I paint Pitu because my father come[s] from Pitu and all the rest of the family, they belong to there. Family hear the stories all the time from Jakayu [Biljabu]. It’s their connection to that place. All the old people were walking through that area, aunty Jakayu was born there. It’s a sad story, hers. We [went] there… to see it again. It’s a long, long way from Punmu. All the other family [saw] where their family is from and where they belong to.”


–       Kuru Gladys Bidu


Pitu (Separation Well) forms part of Kuru’s ngurra (home Country, camp) through her father. It is a significant cultural site and large soak located yulparirra (south) of Wuranu (Canning Stock Route Well 29) and Kulilu rockhole and soak. As a site where fresh water was available all year, Pitu was an important camp and a meeting place for Kartujarra and Manyjilyjarra people during the pujiman (traditional, desert dwelling) era. 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. 


Soaks, or soakwaters, derive their name from the manner in which their waters generally seep into the sand from below stores, sometimes as part of an ephemeral river or creek. Soaks were an especially important source of water during the pujiman era, being the most dependable water source in times of drought. Water was obtained from soaks by scooping away the sand with a piti (timber bowls used for carrying food and water) until clear water gathered at the base of the hole, sometimes at a depth of several metres. Pitu is also surrounded by shrubs that need to be cleared to access its waters.

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Lake Kurturarra

Kurturarra is a yinta (permanent spring) located within the largest of the salt lakes in the Percival Lakes region, and surrounded by acacia trees. Other nearby water sources include Kupankurlu and Yimiri.

The Percival Lakes form a string of ephemeral salt lakes in the north of Western Australia, extending across a distance of 350km. They lie at the southern region of the Great Sandy Desert and east of the Karlamilyi (Rudall River) region. The Canning Stock Route runs in close proximity to some of the lakes, and crosses the salt pan of Tobin Lake near the eastern end. 

The region surrounding Kurturarra was formed by Wirnpa, one of the most powerful of the ancestral jila (snake) men and the last to travel the desert during the Jukurrpa (Dreaming). Wirnpa is a rainmaking jila who lived and hunted in the Percival Lakes area. His travels are described in the songs and stories of many language groups across the Western Desert, even those far removed from his home site. In his epic travels, Wirnpa met and feasted with many other ancestral beings, exchanged ceremonial objects, and created a series of different laws and ceremonies. When he finally returned home, he searched for his many children only to discover that they had already died. They had laid down and become the salt springs of the Percival Lakes. Wirnpa wept for his children before himself transforming into a snake and entering the soak where he still resides.

During pujiman (bushman) times, 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 narratives.

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Kurturarra

Kurturarra is a yinta (permanent spring) located within the largest of the salt lakes in the Percival Lakes region, and surrounded by acacia trees. Other nearby water sources include Kupankurlu and Yimiri.

The Percival Lakes form a string of ephemeral salt lakes in the north of Western Australia, extending across a distance of 350km. They lie at the southern region of the Great Sandy Desert and east of the Karlamilyi (Rudall River) region. The Canning Stock Route runs in close proximity to some of the lakes, and crosses the salt pan of Tobin Lake near the eastern end. 

The region surrounding Kurturarra was formed by Wirnpa, one of the most powerful of the ancestral jila (snake) men and the last to travel the desert during the Jukurrpa (Dreaming). Wirnpa is a rainmaking jila who lived and hunted in the Percival Lakes area. His travels are described in the songs and stories of many language groups across the Western Desert, even those far removed from his home site. In his epic travels, Wirnpa met and feasted with many other ancestral beings, exchanged ceremonial objects, and created a series of different laws and ceremonies. When he finally returned home, he searched for his many children only to discover that they had already died. They had laid down and become the salt springs of the Percival Lakes. Wirnpa wept for his children before himself transforming into a snake and entering the soak where he still resides.

During pujiman (bushman) times, 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 narratives.

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Art Centre notes: The bag is made of natural raffia / sea chord. It is made using a traditional ‘one twist’ method. The dyes are commercial and colour fast. 

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Djenj dja Komrdawh

“My country is called Mankorlod. It is near the rock country. My dreaming is komrdawh (long neck turtle), the one I painted in my design. I like to eat komrdaw, it tastes really nice. We catch them in dry and wet season near Mankorlod. This is my first ever design, and I only have one design. I painted it with brush at Babbarra Women’s Centre and I feel proud when people print my design.” Margot Gurawiliwili

The vines depicted in this artwork are used by women to weave and create fibre sculpture. They grow naturally on the floodplains in Arnhem Land. The long-necked turtle and freshwater sword fish depicted are popular bush food.

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Djenj dja Komrdawh

“My country is called Mankorlod. It is near the rock country. My dreaming is komrdawh (long neck turtle), the one I painted in my design. I like to eat komrdaw, it tastes really nice. We catch them in dry and wet season near Mankorlod. This is my first ever design, and I only have one design. I painted it with brush at Babbarra Women’s Centre and I feel proud when people print my design.” Margot Gurawiliwili

The vines depicted in this artwork are used by women to weave and create fibre sculpture. They grow naturally on the floodplains in Arnhem Land. The long-necked turtle and freshwater sword fish depicted are popular bush food.

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Namurre Boko

A two colour screen print design from 2022. Jay’s first large format design to join the Bábbarra Designs Collection.

‘This is my first one, I’m really happy, I’m proud. It’s just a songline for everybody. This story is from my great great grandfather on my fathers side. The songline was made by my second father. The mimihs tell the story. The painting took a long time, a few weeks to finish.’ Jay Jurrupula Rostron

‘Bini-murreko means two brothers – big brother and little brother.

Two brothers were really strong leaders and good hunters, sharing animals with different tribes.
With those different tribe there were jealousy going on.
Little brother went walkabout and heard the different tribe was talking about his tribe.
They said ngarribin manre djed-djedme bokko
Meaning: will make spear for them
Ngarrbin danj-bun, ngarrbinbun
Meaning: will spear them kill them
little brother turn around went back tell his brother
Namurre bokko kadi marne djed-djedme Karre wonens, kardi-djal danjbun
Meaning: they making spear for us, they gonna spear us
Couple of months they saw different tribe
They changed their attitude
They been bringing lots of animals to them and start asking for women
And that tribe realise that’s how those brothers died.
They kill them
This Why? They got jealous because two brothers was a good hunter.

This story written on the rock art and it stays forever.’

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Wubbunj (Paperbark Canoe)

“Wubbunj is our traditional canoe. This design is the old history story of how people came to live in this place we call Maningrida. Two old people were staying on the other side of the saltwater, in Narlarrambarr area. The old people slept in a paper bark shelter and hunted on the water using their canoe.

A long time ago our people carved these canoes from the big paperbark trees. They had paddles with one person at the front, one at back, and other kids and passengers in the middle. Kunkot (paper bark) was used to make the sails which they would stand up and catch the wind.

One day these old people saw a new boat in their waters, which belonged to the Makassans (Indonesians). Those two old men saw the big Makassan boat coming in, and decided to paddle their canoe from Narlarrambarr to the other side (modern day Maningrida). We were scared of the Makassans, they gave us tobacco and tea, but they took many of our women.

When those two old people tasted that water at Maningrida from the Djomi spring, it was sweet freshwater and they decided to stay here. People here had no clothes in those time, we were just wearing string morkoi (loin cloths). Seven tribes were here then, but now in Maningrida there are lots more languages.” – Raylene Bonson

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Parnpajinya

 

Parnpajinya is a small Aboriginal community adjacent to the town of Newman. This site lies within Mayiwalku’s ngurra (home Country, camp), the area which she knew intimately and travelled extensively with her family in her youth. 

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.

The term Jukurrpa is often translated in English as the ‘Dreaming’, or ‘Dreamtime’. It refers generally to the period in which the world was created by ancestral beings, who assumed both human and nonhuman forms. These beings shaped what had been a formless landscape; creating waters, plants, animals, and people. At the same time they provided cultural protocols for the people they created, as well as rules for interacting with the natural environment. At their journey’s end, the ancestral beings transformed themselves into important waters, hills, rocks, and even constellations.

Mayiwalku’s ngurra encompasses the Country that she and her family walked in the pujiman (traditional, desert-dwelling) era. Mayiwalku was born at Yirnangarri. She grew up, walked and hunted primarily around the Country extending across the Punmu, Kunawarritji (Canning Stock Route Well 33) and Karlamilyi (Rudall River) regions. Following the death of both their parents, Mayiwalku and her sisters travelled alone between Punmu and Kunawarritji, occasionally meeting with other family groups. They 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 Mayiwalku’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. These include Januwa, Jilankujarra, Karlajarntu, Kartungu, Kularti, Kumpupajanu, Kunalimpi, Kunarra, Marnakarti, Pangkapirni, Wilunganinya, Wurur-wururna, Yilyara, and Yirrajarra 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.