September 2025

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Parnngurr

Parnngurr rockhole is located just south of Parnngurr Aboriginal community. At the junction of three linguistic groups; Manyjilyjarra, Kartujarra, and Warnman, it was a critical and permanent source of water during the pujiman (traditional, desert born) era that supported many ritual large gatherings. During this nomadic period families stopped and camped here depending on the seasonal availability of water and the corresponding cycles of plant and animal life on which hunting and gathering bush tucker was reliant. At Parnngurr and other similarly important camp sites families would meet for a time before moving to their next destination. Parnngurr and its surrounds are physically dominated by distinctively red tali (sandhills), covered sparingly with spinifex and low lying shrub. Parnngurr forms part of Betty’s ngurra (home Country, camp) through her parents and through renowned fellow Martumili Artist and aunt Bugai Whyoulter. 

Parnngurr Aboriginal community was created during the return to Country movement of the 1980s, and named after Parnngurr rockhole, its original primary water source. However, until recently the community was widely known as Cotton Creek, after the European name for the ephemeral creek running alongside the community. 

Parnngurr is an important site chronicled in the epic Jukurrpa (Dreaming) story of the Minyipuru (Jakulyukulyu, Seven Sisters). The sisters stopped to rest on Parnngurr Hill before continuing on their long journey east. 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. Beginning in Roebourne on the west coast of Western Australia, the story morphs in its movement eastward across the land, following the women as they walk, dance, and even fly from waterhole to waterhole. As they travel the women camp, sing, wash, dance and gather food, leaving markers in the landscape and creating landforms that remain to this day, such as groupings of rocks and trees, grinding stones and seeds. 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. 

For many Martu, Parnngurr also signifies the location at which their nomadic bush life came to an end. It was here that a group of 29 Martu were picked up by the Native Welfare Department to be taken to Jigalong Mission in 1963. Collectively the group had come to the decision to move to the mission as a result of an extended drought, which had caused a scarcity in food and water resources. The group also wanted to join their families, who had already moved to Jigalong. Among them were Martumili artists Jakayu Biljabu, Kumpaya Girgirba, Bugai Whyoulter and Ngamaru Bidu.

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Flowers

This work depicts the remarkably diverse flora found through Martu Country. These plants are not only vital as significant food sources, but also celebrated for their aesthetic splendour. In the context of the often harsh and arid environments in which desert flowers bloom, their vibrancy, delicacy, and variation become even more spectacular. 

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Wamurla / Wamula (Bush Tomatoes)

Wamula, or wamurla (bush tomato) is a spherical yellow bush fruit harvested from small, prickly shrubs. Wamurla are a favoured bush tucker amongst the Martu, popular for their sweet taste and for the relative ease with which they are foraged. The shrubs prolifically produce purple flowers before fruiting, and require fire burning followed by rains in the months preceding their growth. The fruit is high in vitamin C content, and has a taste likened to banana, passionfruit, and rockmelon. Wamurla can be eaten raw or dried, though only the thick outer rind is eaten; the black seeds and the thin inner part of the fruit are very bitter and inedible. Typically wamurla is collected in large quantities and then eaten or stored for later consumption.

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.

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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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Untitled

This is Lorna’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. 

Though Lorna was born in the Port Hedland hospital and she attended school from a young age, she still lived a somewhat traditional pujiman (traditional, desert dwelling) lifestyle, travelling in the Country between Marble Bar and Roebourne with ‘nomad people’. Today Lorna lives in Warralong Aboriginal community, 50km north of Marble Bar.

Portrayed in this work are features of Lorna’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.

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Untitled

This is Lorna’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. 

Though Lorna was born in the Port Hedland hospital and she attended school from a young age, she still lived a somewhat traditional pujiman (traditional, desert dwelling) lifestyle, travelling in the Country between Marble Bar and Roebourne with ‘nomad people’. Today Lorna lives in Warralong Aboriginal community, 50km north of Marble Bar.

Portrayed in this work are features of Lorna’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.

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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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Untitled

This is Mayiwalku’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. 

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.

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Untitled

This is Mayiwalku’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. 

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.

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Untitled

This is Mayiwalku’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. 

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.