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Two Countries: Kun Kun (Kuny-Kuny) and Nganjirr

“Grandfather’s Country, not far from Well 33, called Nganjirr. Not far, [you] can go up by car. Go camping there. When it rains, fills up, then is dry.

Two Countries – Nganjirr and Kun Kun (Kuny-Kuny), Marlene’s Country. [You] can just go out for the day- lovely and quiet. Go hunting and get some jinyjwirrily (wild gooseberry, or desert raisins)”

– Kara Patch

Nganjirr and Kun Kun are both significant parts of Kara’s ‘ngurra’ (home Country, camp). Nganjirr, a grouping of three rockholes just south of Kil-kil (Canning Stock Route Well 36), is an importaint place for the Patch family through two brothers, Nganjirrmarta and Wirrulypa. A large marntila/tarntulu (Acacia pruinocarpa) sitting on rocky outcrop close to Nganjirr is used to locate the rockholes.

Kun Kun (Kuny-kuny) is a soak accessing a large body of underground water, located southeast of Kunawarritji (Canning Stock Route Well 33). The site is sacred for its association with the marlu (kangaroo) Jukurrpa (Dreaming), and was an important ceremonial site during the pujiman (traditional, desert dwelling) period. 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.

In the Pujiman time, 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. 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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Bush Food

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.

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Tali, Tuwa (Sandhills)

The traditional lands of the Martu people encompass the Great Sandy Desert and Rudall River regions of Western Australia, an enormous tract dominated by distinctive red tali, or tuwa (sandhills). These sandhills present an unforgiving landscape; sparse vegetation covers a seemingly never ending expanse of dunes, and yet these lands and the location of resources within them was known intimately by its pujiman (traditional, desert dwelling) inhabitants. At this time, Martu traversed very large distances annually in small family groups, moving from water source to water source through the harsh desert landscape with incredible stamina and resourcefulness. Travel was often undertaken at night, and when travelling during the day, Martu wore yakipiri (woven bark sandals) to protect their feet from the hot desert sand.

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Wantili (Warntili, Canning Stock Route Well 25)

“Wantili (Warntili, Canning Stock Route Well 25) area, close to Parnngurr. My ngurra (home Country, camp), my jamu’s (grandfather’s) Country, my father’s daddy, Jakayu [Biljabu’s] daddy and my daddy’s Country. Jakayu been bury her father there. In pujiman (traditional, desert dwelling) days, my family and Jakayu’s family been walking round there together. Big sandhills here. Sandhill, sandhill, sandhill everywhere. Claypan there, in the middle. Good place for swimming and drinking, for hunting little kangaroo. When no water [we would] go to [the adjacent Canning Stock Route] well. When there [was] rain we stay there at Wantili. Everywhere, we been walking everywhere.       

Near to Wantili, road [Canning Stock Route] going kayili (north). Long time [ago] only horses and cattle [travelled along that road], going Meekatharra and back in the cold time, gone right up to GJ (Georgia) Bore. Half way, when he see water at Wantili, that mob would camp one night, bullock eating all the grass and men’s drinking water. One Martu been working with that mob, droving bullock. Every time he been give us meat, all the pujimanpa (desert dwellers).”

– Ngamaru Bidu

 

Wantili is a large round jurnu (soak) and linyji (claypan) near Well 25 on the Canning Stock Route. The Wantili region is dominated by claypans surrounded by tuwa (sandhills), and Nyilangkurr, a prominent yapu (hill) is located close to the eastern edge of the claypan. Following rain the typically dry claypans are filled with water, with the overflow from nearby waterholes flowing to Wantili. At that time, Wantili becomes an important place for obtaining fresh water for drinking and bathing. Wantili is significant for the fact that at this site Kartujarra, Manyjilyjarra, Putijarra and Warnman people would all come together for ceremonies during the pujiman era. Many jiwa (stones used by women for grinding seeds) from these times, including those used by Ngamaru’s family, can still be found there today.

Wantili lies within Ngamaru’s ngurra (home Country, camp) through her grandfather and father. As described in her account, Wantili was one of the sites Ngamaru knew intimately and travelled extensively with her family and other family groups, such as the Biljabu family. During the pujiman period Martu would traverse very large distances annually, moving seasonally from water source to water source, and hunting and gathering bush tucker as they went. Knowledge of water sources was critical for survival, and today Martu Country is still defined in terms of the location and type of water. 

As Ngamaru recounts, Wantili also held significance for her as a site of contact between her family and kartiya (white people); drovers with their cattle travelling along the Canning Stock Route. The establishment of the route by Alfred Canning and his team in 1910 resulted in first contact with Europeans for many Martu, including Ngamaru and her family. Increasingly, Martu followed the route to newly established ration depots, mission and pastoral stations. They were drawn to the route in search of food, by a sense of curiosity, or by loneliness. By the late 1950s and early 1960s, most of the desert family groups had left the desert. Eventually, these factors combined with an extreme and prolonged drought in the 1960s to prompt the few remaining pujimanpa to move in from the desert. 

Culturally, Wantili is an incredibly important site in two central Jukurrpa (Dreaming) stories. The first relates to the world’s creation. In this narrative, the world was initially dark, and people were like rocks, with no arms or legs. Following the sun’s first rising, life-forms become increasingly complex while particular features in the land are created. Beyond these details much of the narrative is ngurlu (sacred, taboo), and only for Martu, but the site is open, and anyone can go there. 

Wantili is also one of the many sites featured in the epic Minyipuru (Jakulyukulyu, Seven Sisters) Jukurrpa story. Minyipuru is a central Jukurrpa narrative for Martu, Ngaanyatjarra, Pitjantjatjara and Yankunytjatjara people that is associated with the seasonal Pleiades star constellation. Relayed in song, dance, stories and paintings, Minyipuru serves as a creation narrative, a source of information relating to the physical properties of the land, and an embodiment of Aboriginal cultural laws. The story follows the movement of a group of women travelling all the way across the desert, beginning at Roebourne on the coast of Western Australia, as they are pursued by Yurla, a lustful old man. As the women travelled, they stopped to rest at many sites to eat, dance, rest and sing, on the way leaving behind an assortment of articles that became formations in the land, such as groupings of rocks and trees, grinding stones and seeds. The sisters rested at Wantili before throwing seeds, then continued their journey far to the east and beyond Martu Country, stopping at various sites through central and South Australia.

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Untitled

“When Martu paint, it’s like a map. Martu draw story on the ground and on the canvas, and all the circle and line there are the hunting areas and different waters and tracks where people used to walk, and [some you] can’t cross, like boundaries. So nowadays you see a colourful painting and wonder what it is, but that’s how Martu tell story long ago. It’s not just a lovely painting, it’s a story and a songline and a history and everything that goes with it.” 

– Ngalangka Nola Taylor and Joshua Booth

This work portrays an area of Country that can be interpreted in multiple ways. Firstly, the image may be read as an aerial representation of a particular location known to the artist- either land that they or their family travelled, from the pujiman (traditional, desert dwelling) era to now. 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, one’s survival depended on their intimate knowledge of the location of resources; thus physical elements of Country, such as sources of kapi (water), tali (sandhills), different varieties of warta (trees, vegetation), ngarrini (camps), and jina (tracks) are typically recorded with the use of a use of a system of iconographic forms universally shared across the desert. 

An additional layer of meaning in the work relates to more intangible concepts; life cycles based around kalyu (rain, water) and waru (fire) are also often evident. A thousands of year old practice, fire burning continues to be carried out as both an aid for hunting and a means of land management today. As the Martu travelled and hunted they would burn tracts of land, ensuring plant and animal biodiversity and reducing the risk of unmanageable, spontaneous bush fires. The patchwork nature of regrowth is evident in many landscape works, with each of the five distinctive phases of fire burning visually described with respect to the cycle of burning and regrowth.  

Finally, metaphysical information relating to a location may also be recorded; Jukurrpa (Dreaming) narratives chronicle the creation of physical landmarks, and can be referenced through depictions of ceremonial sites, songlines, and markers left in the land. Very often, however, information relating to Jukurrpa is censored by omission, or alternatively painted over with dotted patterns.

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Tali, Tuwa (Sandhills)

The traditional lands of the Martu people encompass the Great Sandy Desert and Rudall River regions of Western Australia, an enormous tract dominated by distinctive red tali, or tuwa (sandhills). These sandhills present an unforgiving landscape; sparse vegetation covers a seemingly never ending expanse of dunes, and yet these lands and the location of resources within them was known intimately by its pujiman (traditional, desert dwelling) inhabitants. At this time, Martu traversed very large distances annually in small family groups, moving from water source to water source through the harsh desert landscape with incredible stamina and resourcefulness. Travel was often undertaken at night, and when travelling during the day, Martu wore yakipiri (woven bark sandals) to protect their feet from the hot desert sand.

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Djomi (Fresh Water Spirit)

This design depicts the story of the artist’s ancestral dreaming, the Djomi fresh water spirit mermaid.

The Djomi figure is a mermaid like spirit with fish tail that lives in the fresh water stream that flows out to the sea cliff near Maningrida. Djomi is a known to be a very powerful fertility symbol.

‘If you go there you can get pregnant easily. Djomi has babies, and they can give others babies too. The Djomi spirit is so powerful, that women can end up with multiple babies at once, twins or sometimes even more. The Djomi spirits lay eggs near the sacred freshwater stream in Maningrida. Inside the eggs are human babies as well as young Djomi.

Men do not go near that swamp, because Djomi is so powerful that men might get pregnant there too. So men, they are too scared of that Djomi. When we visit the Djomi freshwater spring, we can hear young Djomi crying. They sound like normal babies crying, those Djomi spirits. They are looking for a mother.

This Djomi is my dreaming, I got permission from my djunguys to paint this Djomi design. For me I always ask my djunguy permission to paint, because that is our cultural way.

This design also depicts the fresh water lily leaves, and seaweed from the base of the sea floor.

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Puntawarri

This painting depicts Puntawarri, in 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 his family. The artist frequently travelled and hunted with his family in this area during pujiman (bush) days.

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Mending the Land

Over many years of damages, our people and culture are finally mending and healing the land.