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Tingari Men Tjukurrpa

The Tingari Men are a group of ancestral elders who travelled over vast areas of the Western Desert including the Ngaanyatjarra Lands, performing rituals and creating or “opening up” the desert country. They were usually accompanied by recently initiated novices to whom they provided instruction in the ritual and law of the region.

The Tjukurrpa (Dreamtime stories) of the Tingari groups are enshrined in numerous song-myth cycles which provide explanations for contemporary customs in Western Desert aboriginal life. Deep knowledge of Tingari business is restricted to men possessing appropriate levels of seniority in Western Desert society, but many stories have “public versions” which do not disclose secret/sacred knowledge.

In the Tingari heartland of the Gibson Desert, three major journey-lines can be discerned. One begins west of Jupiter Well and eventually runs due east, concluding south-east of Lake Mackay; another heads south-west from near Kintore for some 200 km, and then doubles back to end at Lake Macdonald; the third runs from south to north through Docker River and Kintore. At the many sites that make up these songlines, groups of Tingari people held ceremonies, experienced adversity and had adventures, in the course of which they either created or became the physical features of the sites involved. In mythological terms, Tingari exploits often add to or modify features at pre-existing sites, or revive and extend more ancient local Tjukurrpa.

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Kurr Kurrta and Talipanta Loyd Jackson’s fathers Tjurkurpa

“Two men were camping and sitting down at the rockhole waiting for those Camels and Kangaroos to come and drink. Them men they block up the gap so them Camels and Kangaroo get caught, they kill em and eat em.
When we go to find those waterhole now they covered up by sand, that wind blow em over and can’t see now.”

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Kungkarrangkalpa (Seven Sisters)

‘Kungkarrangkalpa’ (The Seven Sisters or Pleaides) is significant Tjukurrpa (dreamtime). Its origins you may be familiar with in astronomy and its connection to ‘Wati Nyiru’ (Magic Man or Orion).  The roots of this dreaming stems across indigenous groups around the world. The Australian Aboriginal songline is one part to the whole dreaming which can be traced all around the world. The ladies of the Ngaanyatjarra Lands depict their significant chapter and understanding of the journey of the sisters. The different versions of this story depend on where you live and the significance’s of local Tjukurrpa places.

Nyiru fell in love with the sisters but he was of the wrong skin group to marry, but he still pursued them on their journey. The sisters travel across the land to escape Nyiru’s unwanted attentions, but he is persistent and always finds them. There are significant land forms which can be sited today that evidence this dreaming. As Nyiru is chasing the sisters he tries to catch them by using magic to turn into the most tempting kampurarrpa (bush tomato) and the most beautiful Yirli (wild fig tree), for them to eat and camp under. However, the sisters are knowledgeable of his magic and too clever for Nyiru who they outwit again and again. They go hungry and run through the night rather than be caught by him. As the journey continues, Nyiru gets so frustrated at the wit of the sisters that he uses his magic to make the oldest sister sick to try and get closer to her. The other sisters rescue the big sister and nurse her back to health. It is said he also captures the youngest sister, but with the help of the oldest sister, she escapes back to her sisters who are waiting for her. Eventually, the sisters fly into the sky to escape Nyiru, forming the constellation. Nyiru felt lonely, longing for the sisters who were so far away. Nyiru used his magic to go to the sky, forever in pursuit.

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Mindirr (Pandanus Bag)

Miṉḏirr (dilly bags) are made from gunga (Pandanus spiralis), baḻgurr (kurrajong) and natural bush dyes. The body of the miṉḏirr is made from gunga, and the handles from baḻgurr. Once the gunga fronds and baḻgurr bark have been collected, they are stripped and prepared then boiled with the dyes.

Miṉḏirr were used traditionally for every day utilitarian purposes, particularly collecting bush foods such as bäḻtji (yam). Traditionally, the baḻgurr handles were worn across the forehead while the body of the miṉḏirr sat at the back, between the shoulder blades making it easily accessible when collecting ŋatha (food).

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Malka (Ceremonial Head Wear)

Malka are ceremonial head adornments made from balgurr (Kurrajong). The bark is stripped from the tree, smashed with a rock to soften then boiled, sometimes with natural bush dyes. The balgurr is then rolled in the a rope then used to create ceremonial wear. 

The essence of Yolngu ceremonies lies in the reenactment of the ancestral beings’ actions that shaped the land and established the laws that govern it. These ceremonies are conveyed through an intricate blend of songs, dances, paintings, objects, and carefully choreographed sequences of action.

For Yolngu, these elements are more than mere expressions; they embody the very essence of the ancestral beings. They serve as a vital link to the ancestral world, bridging the past with the present. Each clan holds a unique collection of songs, paintings, and sacred objects known collectively as the clan’s “madayin” or sacred Law, which is intimately tied to the deeds and legacies of the ancestral beings who forged the clan’s land.

The sacred Law of each clan is not isolated but interconnected with the Laws of other clans within the same moiety. This interconnection stems from the ancestral beings’ journeys, which often traversed the lands of multiple clans, creating a shared foundation of Law and tradition.

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Dhawurr/batjbarra fish trap

Fish traps are placed into the river to face the oncoming fish. The woven tunnel traps the fish and prevents their escape. The traps are tapered so when they are submerged in the water, the water pressure wedges them into place. Traditionally, the fish traps are operated at night time.

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Basket

Weaving is a skill that has been practiced by Martu for thousands of years in the making of utilitarian and ceremonial items, such as yakapiri (bark sandals) and manguri (head pads for balancing carved carrying dishes). However, coiled basket weaving as an artform is a relatively newly adopted practice for the Martu, a skill passed on from Central Desert artists in the 1990’s. Leading Martu fibre arts practitioner Nola Taylor says that basket weaving was so popular amongst Martu women that it “spread across the desert like a waru (fire)”.

Each basket is built up through wrapping fine bundles of grass in brightly coloured wool and then stitching each round on to the previous one. The baskets are primarily made from puntayarra and minarri (Amphipogon Caricinus) grass, usually collected incidentally during trips to visit family, attend ceremonies, maintain Country, and hunt and gather bush tucker. Martu artists have developed a distinctive style of basketry and individual artists continue to develop new designs and incorporate novel materials, including steel, wire and wood, into their work. 

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Basket

Weaving is a skill that has been practiced by Martu for thousands of years in the making of utilitarian and ceremonial items, such as yakapiri (bark sandals) and manguri (head pads for balancing carved carrying dishes). However, coiled basket weaving as an artform is a relatively newly adopted practice for the Martu, a skill passed on from Central Desert artists in the 1990’s. Leading Martu fibre arts practitioner Nola Taylor says that basket weaving was so popular amongst Martu women that it “spread across the desert like a waru (fire)”.

Each basket is built up through wrapping fine bundles of grass in brightly coloured wool and then stitching each round on to the previous one. The baskets are primarily made from puntayarra and minarri (Amphipogon Caricinus) grass, usually collected incidentally during trips to visit family, attend ceremonies, maintain Country, and hunt and gather bush tucker. Martu artists have developed a distinctive style of basketry and individual artists continue to develop new designs and incorporate novel materials, including steel, wire and wood, into their work. 

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Lorrkon (Hollow Log)

The Lorrkon or bone pole coffin ceremony was the final ceremony in a sequence of mortuary rituals celebrated by the people of Arnhem Land. This ceremony involves the placing of the deceased’s bones into a hollow log which was decorated with painted clan designs and ceremonially placed into the ground where it remained until it slowly decayed over many years.

The log is made from a termite hollowed Stringybark tree (Eucalyptus tetradonta) and is decorated with totemic emblems. The western Arnhem Land version of the Lorrkon ceremony involves the singing of sacred songs to the accompaniment of karlikarli, a pair of sacred boomerangs used as rhythm instruments. During the final evening of the ceremony, dancers decorate themselves with kapok down, or today, cotton wool and conduct much of the final segments of the ceremony in the secrecy of a restricted mens’ camp. The complete ceremony may stretch over a period of two weeks, but on the last night the bones of the deceased, which have been kept in a bark container or today wrapped in cloth and kept in a suitcase are taken out, are painted with red ochre and placed inside the hollow log. This ceremony may take place many years after the person has died.

At first light on the final morning of the Lorrkon ceremony, the men appear, coming out of their secret bush camp carrying the pole towards the women’s camp. The two groups call to each other using distinct ceremonial calls. The women have prepared a hole for the pole to be placed into and when it is stood upright, women in particular kinship relationships to the deceased dance around the pole in a jumping/shuffling motion. The Lorrkon is then often covered with a tarpaulin and left to slowly decay.

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Lorrkon (Hollow Log)

The Lorrkon or bone pole coffin ceremony was the final ceremony in a sequence of mortuary rituals celebrated by the people of Arnhem Land. This ceremony involves the placing of the deceased’s bones into a hollow log which was decorated with painted clan designs and ceremonially placed into the ground where it remained until it slowly decayed over many years.

The log is made from a termite hollowed Stringybark tree (Eucalyptus tetradonta) and is decorated with totemic emblems. The western Arnhem Land version of the Lorrkon ceremony involves the singing of sacred songs to the accompaniment of karlikarli, a pair of sacred boomerangs used as rhythm instruments. During the final evening of the ceremony, dancers decorate themselves with kapok down, or today, cotton wool and conduct much of the final segments of the ceremony in the secrecy of a restricted mens’ camp. The complete ceremony may stretch over a period of two weeks, but on the last night the bones of the deceased, which have been kept in a bark container or today wrapped in cloth and kept in a suitcase are taken out, are painted with red ochre and placed inside the hollow log. This ceremony may take place many years after the person has died.

At first light on the final morning of the Lorrkon ceremony, the men appear, coming out of their secret bush camp carrying the pole towards the women’s camp. The two groups call to each other using distinct ceremonial calls. The women have prepared a hole for the pole to be placed into and when it is stood upright, women in particular kinship relationships to the deceased dance around the pole in a jumping/shuffling motion. The Lorrkon is then often covered with a tarpaulin and left to slowly decay.