Wira is a small cup-like digging bowl or multi-purpose object. In the early days this walka (design) was burnt with wire on to wooden carvings, particularly onto the wira. This association with women has seen the wira walka take on an identity as a female design. It is also highly reminiscent of the marks made in ochre or paint on a woman’s breasts during inma (ceremony). This design has become an iconic element in art from the Anangu Pitjantjatjara Yangkantjatjara Lands.
Tjala or honey ants live in nests about a metre underground beneath mulga trees, and they are a highly favoured food source. The tjala tunnels that lead down to the ants’ nests are called nyinantu, and the larvae are called ipilyka-ipilyka. After the rain when the ground is soft the women go digging for tjala by looking for the drill holes under the trees. They then use shovels and crowbars to dig down following the tunnels to find the tjala inside. Anangu suck the delicious rich honey-like liquid from the distended abdomen of the tjala. The story of the tjala is told across the Northern Territory into South Australia and is an important link between Anangu mythology and inter-dependence on the environment.
For the Pitjantjatjara people living in the desert, knowledge of their water sources was critical to their survival. This resulted in an intimate understanding of the landscape which continues today. Water is an essential element in the desert. These rock holes were particularly important during the dry season when most of the water holes and creeks dried up. Deep familiarity with the topography of their country and the way rain would interact with the land ensured constant sources of water could be found. Knowledge of rock hole sites is passed on from generation to generation and revered by all Anangu (people).
Tjukula means rock-holes, which are found with surprising frequency in the Musgrave Ranges and country around Ernabella. Between visits, Anangu would use a construction of rocks and spinifex to guard these important water sources from spoilage by feral and stock animals such as cattle, camels, horses and donkeys.
Kungkarangkalpa means the Seven Sisters. This is an extensive creation story that relates to the Pleiades constellation in the southern hemisphere. The story traverses Australia taking on different forms, however local women are privy to the part of the story which takes place in the country near Ernabella. For this part of the story, the man called Nyiru is chasing the sisters as he wants to sleep with the oldest sister. All the younger sisters are deeply afraid of him. As Nyiru is chasing the sisters, he tries to catch them by using magic to turn himself into the most tempting bush tomatoes for the sisters to eat and the most beautiful ili (fig) tree for the sisters to camp under. However, the sisters are aware of his magic and go hungry and run through the night rather than be caught by Nyiru. Eventually, to escape Nyiru, the sisters fly into the sky where they turn into stars and form the constellation.
Walka means design or pattern. Artists use this title to describe artworks that are pattern based rather than descriptive or telling a story.
Walka means design or pattern. Artists use this title to describe artworks that are pattern based rather than descriptive or telling a story.
Walka means design or pattern. Artists use this title to describe artworks that are pattern based rather than descriptive or telling a story.
This is a tjukurpa (story) from near Mimili on the Aṉangu Pitjantjatjara Yankunytjatjara (APY) Lands from when Aṉangu (people) came here a long time ago. When the maku (witchetty grub) was finished, people sang the maku to make them come back. They sang and danced and scattered leaves to make the maku come out of the ground. This is Derek’s grandmother’s story. She used to dance to these songs when she lived in Mimili and she’s now buried there.
Derek’s cousin says: ‘So when they dance to that maku song, that song develops all the bush food – maku under the ground to grow more bigger and to have more maku in the roots. So when the ladies dig it they can see it really close in the roots as well. They can be like five of them but they have to be really, really big’.
Until relatively recently bush foods were the primary source of sustenance for Aṉangu and maku is still one of the favourites. Many bush foods are still gathered regularly almost exclusively by women, and they feature strongly in artistic mark making. Women learn the art of gathering each of the foods from a young age and much inma (ceremony) relates to these practices and the maintenance of supply.
Kungkarangkalpa means the Seven Sisters. This is an extensive creation story that relates to the Pleiades constellation in the southern hemisphere. The story traverses Australia taking on different forms, however local women are privy to the part of the story which takes place in the country near Ernabella. For this part of the story, the man called Nyiru is chasing the sisters as he wants to sleep with the oldest sister. All the younger sisters are deeply afraid of him. As Nyiru is chasing the sisters, he tries to catch them by using magic to turn himself into the most tempting bush tomatoes for the sisters to eat and the most beautiful ili (fig) tree for the sisters to camp under. However, the sisters are aware of his magic and go hungry and run through the night rather than be caught by Nyiru. Eventually, to escape Nyiru, the sisters fly into the sky where they turn into stars and form the constellation.
Walka means design or pattern. Artists use this title to describe artworks that are pattern based rather than descriptive or telling a story.