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Kunawarritji (Canning Stock Route Well 33)

“We went to Kunawarritji. We went out to see the waterholes with Kumpaya [Girgirba], my aunty – my dad’s sister. It’s the first time I went in a chopper to see the waterholes. Kumpaya take me to show me the waterholes, show me my father’s Country. It was good. I went first to see the waterholes and then I start painting. The waterholes are my father’s Country.

We go out there sometimes, but now I’m doing a lot of painting there in Punmu. I was learning to make a painting now, with the old people. But they all passed away now. And they told me, “You can do your own Country, your dad’s Country.” And I made a couple of paintings of my father’s Country. They were telling me, “Just do your father’s Country, Kunawarritji.”

– Debra Thomas

 

Kunawarritji is an important site in the Great Sandy Desert where multiple stories and histories intersect. Originally a spring water and major Martu pujiman (traditional, desert dwelling) camping site, at the turn of the 20th century Kunawarritji was converted into a well along the Canning Stock Route. Each year throughout the 1930-50s, the well became a site of contact between the drovers, their cattle, and desert families. 

Long before colonial history entered this Country, however, other stories dominated the site. Primarily, Kunawarritji features in the Minyipuru (Jakulyukulyu, Seven Sisters Jukurrpa (Dreaming). Minyipuru is a central Jukurrpa narrative for Martu, Ngaanyatjarra, Pitjantjatjara and Yankunytjatjara people that is associated with the seasonal Pleiades star constellation. Beginning in Roebourne on the west coast of Western Australia, the story morphs in its movement eastward across the land, following a group of women as they walk, dance, and even fly from waterhole to waterhole. As they travelled the women left markers in the landscape and create landforms that remain to this day. During the entirety of their journey the women are pursued by a lustful old man, Yurla, although interactions with other animals, groups of men, and spirit beings are also chronicled in the narrative.

The Minyipuru travelled to Kunawarritji from Nyipily (Nyipil, Nibil, Canning Stock Route Well 34), and transformed themselves into a distinctive group of trees that remain in the area between these two sites. From Kunawarritji Yurla followed the sisters to Pangkapirni, where he finally caught one of the women. 

Today, Kunawarritji is a site of return, a place where people came back to continue their life in the desert with the formation of Kunawarritji Aboriginal community in the early 1980s. The community’s cultural significance endures, with the population swelling up to 1000 during cultural business.

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Pitu (Separation Well)

“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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Laripuka

Laripuka is a waterhole kayili (north) of the Percival Lakes region of Western Australia’s Great Sandy desert. This is Yikartu’s ngurra (home Country, camp); she was born here. Yikartu recalls travelling here with her family and Grandmother in the pujiman (traditional, desert dwelling) days.

The Western Desert term ‘ngurra’ is hugely versatile in application. Broadly denoting birthplace and belonging, ngurra can refer to a body of water, a camp site, a large area of Country, or even a modern house. 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. This knowledge is traditionally passed intergenerationally through family connections. 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. Physical maintenance of one’s ngurra, like cultural maintenance, ensures a site’s wellbeing, and is a responsibility of the people belonging to that area.

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Jupurrl

“This one a yinta (permanent springs) in my ngurra (home Country, camp), Jupurrl. It’s kakarra (east) of Kulyakartu and kayili (north) side of Wirnpa. I was a married woman when I was walking around this place, pujiman (traditional, desert dwelling) time. I married a good man. There’s lots of kapi (water) there. Lots of yukari (green grass, vegetation). Plenty of bushtucker, pussycat and goanna. There’s no kapi when you first get there, but you dig him up and then there’s lots of kapi. We’ve got to take all the kids to that ngurra. Show them my daddy’s ngurra. There’s another waterhole, not far from there called Jakapinka. A jila (snake) made that kapi. It’s my brother’s Country.”

– Yikartu Bumba

 

During the pujiman (traditional, desert dwelling) days, Yikartu and her family travelled extensively through this Country. At this 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 (Dreaming) narratives. 

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Kakan (Black Palm) Basket Weaving

This design shows how the bottom part of a black palm basket is woven. My grandmothers and aunties used to make them. They cut off the young palm leaves in the centre, stripped and scrapped them. Then they would put the strips in freshwater to make them soft and keep them straight for weaving.

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Kakan (Black Palm) Basket Weaving

This design shows how the bottom part of a black palm basket is woven. My grandmothers and aunties used to make them. They cut off the young palm leaves in the centre, stripped and scrapped them. Then they would put the strips in freshwater to make them soft and keep them straight for weaving.

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Mossman River Design

The Mossman River is very important to me and my family. Laurence, my partner and the father of our 5 children, is one of the Traditional Owners of this area. We both grew up along the river and Laurence’s grandparents used to live in a hut next to the river. In the hot season, we used to camp there with our families. Laurence would teach me and later our children how to dive for turtle and fish. We would cross the river to hunt and collect bush food. Back at the camp, we would make fire, cook our damper and fish in an earth oven and share with our families.

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Mossman River Design

The Mossman River is very important to me and my family. Laurence, my partner and the father of our 5 children, is one of the Traditional Owners of this area. We both grew up along the river and Laurence’s grandparents used to live in a hut next to the river. In the hot season, we used to camp there with our families. Laurence would teach me and later our children how to dive for turtle and fish. We would cross the river to hunt and collect bush food. Back at the camp, we would make fire, cook our damper and fish in an earth oven and share with our families.