October 2025

Bush Tucker

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.

Marlu (kangaroo)

Marlu (kangaroo) are one of the largest species that form part of the Martu diet, and are typically hunted by men on specific trips targeting major game. Marlu are prized not only for the high yield of meat which they represent, but also for the level of skill and stamina required to hunt them. When hunted, marlu are typically directed via fire and then tracked for a lengthy period of up to several hours. Effective hunting also relies on one’s knowledge of seasonal conditions and preferred foods and habitats. Traditionally, marlu were stalked and then speared. Today, marlu are generally hunted with rifles at the beginning of yalijarra (hot season), before the rains. 

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. 

Untitled

Martumili Artists work with over three hundred artists from remote Martu Aboriginal communities, including Punmu, Parnngurr, Kunawarritji, Jigalong, Irrungadji (Nullagine), and Warralong, as well as from the Parnpajinya (Newman) gallery and studio spaces. Known for their diverse, energetic, and unmediated painting styles, their works reflect the dramatic geography and scale of their homelands. Each artist, however, brings a unique approach to their craft.

Younger Martu artists often start painting alongside their parents, grandparents, and extended family, which fosters an organic learning process. This not only involves mastering painting techniques but also understanding specific locations, family histories, traditional ways of life, bush tucker, and Jukurrpa (Dreaming). Over time, with encouragement from their peers, they develop their own distinct styles and explore unique painting techniques and subject matter. In this work the artist brings a contemporary, evolving perspective to their work.

Lungkurta (blue tongue lizard)

Lungkurta (blue tongue lizard) are a species of short bodied, slender tailed skink, striped grey and orange with a distinctive blue tongue. Lungkurta are found throughout Australia in dry, sandy and stony areas. They hibernate in the cool months, emerging seasonally as temperatures warm in tuulparra (spring). Once dug from their burrows, lungkurta are usually seized by their tails as a way of preventing them from inflicting scratches or gashes. Traditional carved wana (digging-sticks) used to dig burrows have been replaced with metal bars, though burning and tracking techniques continue to be practiced in the hunting of lungkurta.  Targeted waru (fire) clears vegetation and exposes burrows, whilst simultaneously providing diverse regenerating habitats for future lungkurta. When consumed, they are singed and then cooked in a coal and ash bed. 

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.

Tali – Sand dunes, Kulyakartu

“The sand dunes play important roles in our Martu culture, especially in most parts of the desert regions. Tali (sandhills) are sometimes boundaries, travel pathways, and act as wind breaks in windy seasons for Martu. I have been guided by my elders, Muuki, Nola, and Wokka Taylor in what to paint and what not to paint. And as young adults we paint seasons, some rockholes and sand dunes, some animals too. This painting are the Tali, at Kulyakartu.” 

– Nuriah Jadai

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.

The Martu term for family, walytja, encapsulates a broader idea of relatedness that permeates every aspect of life. The Martu four-section kinship system determines a person as belonging to either the Purungu, Milangka, Panaka or Karrimarra skin group, and was created by the Jukurrpa (Dreaming) ancestors.

The significance of walytja is revealed in Martu art not only in its depiction of ngurra as delineated by ancestral inheritance, but also through the act of painting itself. Martumili artists begin to paint with their parents, grandparents and extended family, fostering an organic process of learning about painting techniques, along with knowledge of specific locations and their related Jukurrpa narratives. In this way, the passing down of cultural knowledge through art ensures the continuity of Martu heritage.

Tali – Sand dunes, Kulyakartu

“The sand dunes play important roles in our Martu culture, especially in most parts of the desert regions. Tali (sandhills) are sometimes boundaries, travel pathways, and act as wind breaks in windy seasons for Martu. I have been guided by my elders, Muuki, Nola, and Wokka Taylor in what to paint and what not to paint. And as young adults we paint seasons, some rockholes and sand dunes, some animals too. This painting are the Tali, at Kulyakartu.” 

– Nuriah Jadai

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.

The Martu term for family, walytja, encapsulates a broader idea of relatedness that permeates every aspect of life. The Martu four-section kinship system determines a person as belonging to either the Purungu, Milangka, Panaka or Karrimarra skin group, and was created by the Jukurrpa (Dreaming) ancestors.

The significance of walytja is revealed in Martu art not only in its depiction of ngurra as delineated by ancestral inheritance, but also through the act of painting itself. Martumili artists begin to paint with their parents, grandparents and extended family, fostering an organic process of learning about painting techniques, along with knowledge of specific locations and their related Jukurrpa narratives. In this way, the passing down of cultural knowledge through art ensures the continuity of Martu heritage.