111582404333



Tuwa

‘’Went with Martumili. Old Jigalong. Judith’s nanna Country, where Judith nanna was born. Went from old Jigalong to Jigalong to right through Parnngurr, Camped the night and then Judith’s pop went to pick him up. His name is Mr Rowlands and I call him brother. He showing me where my nanna’s Country started from Parnngurr towards Lake Disappointment. We camped the night. Judith’s nanna was getting cheeky bossing him (Mr Rowland) around; “we not married anymore that’s why I left him.” Between Lake Disappointment and Durba Springs (Pinpi) there were these beautiful rolling sand hills, we winding through them over top, we stopped half way and I looked out to the sunset saw all the glistening spinifex. The orange from the sunset lit the sand dunes up. When I do the Tuwa paintings I think of that day.’’

– Kathleen Sorensen

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.

111582404332



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.

111582404330



Karlamilyi

Karlamilyi (Rudall River region) and its surrounds are Warnman Country, located in the very heart of the Martu homelands. The region is situated southwest of the Great Sandy Desert and northeast of the Little Sandy Desert. Spanning through the region is the epic Karlamilyi River, which runs north into Nyayartakujarra (Ngayarta Kujarra, Lake Dora), a large salt lake. The Broadhurst and Fingoon Ranges extend diagonally across the river’s path. The landscape is striking for its abundance of gorges and valleys carved by ice age glaciers, rugged cliffs, red tali (sand dunes), grasslands, sandstone and quartz rocky outcrops, and salt lakes. 

Across the whole region are hundreds of water sources; including waterholes, creeks, soaks, lakes, pools and rockholes. Lining the rivers are coolabah, walyji (river gum), yulbah (bats wing coral tree), and several species of acacia and hakea. Jalkuran (paperbark), kurrulyu/ mijarrpa (bloodwood) and jawirli (quandong) are found in the region’s valleys, and wikirrpa (desert oaks) and grasses in the sandplains. The area is abundant with bird species, jila (snakes), maruntu (goannas), red kangaroos and warlpaju (rock wallabies). The region is also home to remote aboriginal communities Punmu and Parnngurr.

According to two of the central Martu Jukurrpa (Dreaming) narratives, the Karlamilyi River and its surrounds were created by the ancestral beings Jila Kujarra (Two Snakes) and the Wati Kujarra (Two Goanna Men) as they travelled across the lands.

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Wantili

“Wantili (Warntili, Canning Stock Route Well 25) area, close to Parnngurr. My ngurra (home Country, camp), my jamu’s (grandfather’s) Country, my father’s daddy, Jakayu [Biljabu’s] daddy and my daddy’s Country. Jakayu been bury her father there. In pujiman (traditional, desert dwelling) days, my family and Jakayu’s family been walking round there together. Big sandhills here. Sandhill, sandhill, sandhill everywhere. Claypan there, in the middle. Good place for swimming and drinking, for hunting little kangaroo. When no water [we would] go to [the adjacent Canning Stock Route] well. When there [was] rain we stay there at Wantili. Everywhere, we been walking everywhere.       

Near to Wantili, road [Canning Stock Route] going kayili (north). Long time [ago] only horses and cattle [travelled along that road], going Meekatharra and back in the cold time, gone right up to GJ (Georgia) Bore. Half way, when he see water at Wantili, that mob would camp one night, bullock eating all the grass and men’s drinking water. One Martu been working with that mob, droving bullock. Every time he been give us meat, all the pujimanpa (desert dwellers).”

– Ngamaru Bidu

 

Wantili is a large round jurnu (soak) and linyji (claypan) near Well 25 on the Canning Stock Route. The Wantili region is dominated by claypans surrounded by tuwa (sandhills), and Nyilangkurr, a prominent yapu (hill) is located close to the eastern edge of the claypan. Following rain the typically dry claypans are filled with water, with the overflow from nearby waterholes flowing to Wantili. At that time, Wantili becomes an important place for obtaining fresh water for drinking and bathing. Wantili is significant for the fact that at this site Kartujarra, Manyjilyjarra, Putijarra and Warnman people would all come together for ceremonies during the pujiman era. Many jiwa (stones used by women for grinding seeds) from these times, including those used by Ngamaru’s family, can still be found there today.

Wantili lies within Ngamaru’s ngurra (home Country, camp) through her grandfather and father. As described in her account, Wantili was one of the sites Ngamaru knew intimately and travelled extensively with her family and other family groups, such as the Biljabu family. During the pujiman period Martu would traverse very large distances annually, 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. 

As Ngamaru recounts, Wantili also held significance for her as a site of contact between her family and kartiya (white people); drovers with their cattle travelling along the Canning Stock Route. The establishment of the route by Alfred Canning and his team in 1910 resulted in first contact with Europeans for many Martu, including Ngamaru and her family. Increasingly, Martu followed the route to newly established ration depots, mission and pastoral stations. They were drawn to the route in search of food, by a sense of curiosity, or by loneliness. By the late 1950s and early 1960s, most of the desert family groups had left the desert. Eventually, these factors combined with an extreme and prolonged drought in the 1960s to prompt the few remaining pujimanpa to move in from the desert. 

Culturally, Wantili is an incredibly important site in two central Jukurrpa (Dreaming) stories. The first relates to the world’s creation. In this narrative, the world was initially dark, and people were like rocks, with no arms or legs. Following the sun’s first rising, life-forms become increasingly complex while particular features in the land are created. Beyond these details much of the narrative is ngurlu (sacred, taboo), and only for Martu, but the site is open, and anyone can go there. 

Wantili is also one of the many sites featured in the epic Minyipuru (Jakulyukulyu, Seven Sisters) Jukurrpa story. 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. The story follows the movement of a group of women travelling all the way across the desert, beginning at Roebourne on the coast of Western Australia, as they are pursued by Yurla, a lustful old man. As the women travelled, they stopped to rest at many sites to eat, dance, rest and sing, on the way leaving behind an assortment of articles that became formations in the land, such as groupings of rocks and trees, grinding stones and seeds. The sisters rested at Wantili before throwing seeds, then continued their journey far to the east and beyond Martu Country, stopping at various sites through central and South Australia.

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Punmu

“Punmu, I went there when I was a young girl, a teenager with my mother and father before my mother passed. Big mob of people was there. No building, just little cubby houses [bough shelters]. Long time I been there. 

These here are the waterholes around Punmu; Rawa spring- Rawa means ‘long time’, Tuu-tuu, Jila-jila, Wirlarra and Yilyara. That is my ngurra (home Country, camp). We grew up in Punmu around all these water holes. I still live here with my grandkids, [we share the] same stories for all these places.” 

 – Marianne Burton

 

Punmu refers to a region and an Aboriginal community within its vicinity, located 670km North-East of Newman. Created during the return to Country movement of the 1980s, with the recognition of Martu land rights and native title, the community was named after a nearby Jukurrpa (Dreaming) story. As described by Marianne, Punmu is her ngurra; she grew up in this region with her parents. 

Punmu community sits on the edge of a large salt lake known as Nyayartakujarra, or Lake Dora. The lake runs south into Karlamilyi River (Rudall River). Surrounding Punmu are numerous fresh water soaks and the red tali (sandhills) typical of the area. The most frequently visited yinta (permanent springs) around Punmu include Wirlarra, Rawa, Yilyara, Jila-jila and Tuu-tuu.

The Country around Punmu features in several Jukurrpa stories. Of particular importance is the story of the Jila Kujarra (Two Snakes), one of the key Jukurrpa narratives for the Martu. Though the story belongs to Warnman people, it is shared across the Western Desert with several other language groups. The narrative centres on the travels of two snakes as they are pursued by the Niminjarra, spiritual ancestors of the Warnman people. 

Before transforming themselves into snakes, the Jila Kujarra were young brothers. As snakes, they began travelling home to their mother, but were intercepted by the Niminjarra, who tracked the Jila Kujarra to Paji, east of Nyayartakujarra (Lake Dora). Though the Jila Kujarra eluded their pursuers here by escaping under the lake at Paji, they were soon after speared and injured by two Pukurti (initiates with bundled hair) at Nyayartakujarra, who returned with the Niminjarra to cook the snakes at the site of Kumpupirntily (Kumpupintily, Lake Disappointment). As the Niminjarra cut down the length of the Jila Kujarra, the snake’s bladders were pierced, causing an explosion of scalding hot urine in which the Niminjarra all perished and became black rocks at the site. The spirits of the Jila Kujarra returned to their mother at Nyayartakujarra, where the mother and her sons entered the ground below Nyayartakujarra and remain to this day.

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Puntawarri

“All around is sandhills and lakes on every side. You can see the grass, but the lakes are all dry. In the middle is Puntawarri waterhole. That’s the jila (snake) place, two jila. They nyupa (spouses), they darlings, man and woman. They sleeping near to Puntawarri. It’s a hole in the ground- that jila will come out of the ground and all the dust will go everywhere. All the dust going everywhere, the dust that flies up when the jila flies up out of its hole. The jila isn’t in that place anymore. It’s gone now but that jila used to stop there.” 

 – Helen Dale Samson

Puntawarri is an important cultural area located on the middle stretches of the Canning Stock Route and east of the Jigalong Mission (now Jigalong Aboriginal community). It is also the site of an abandoned community, a waterhole, creek and lake. Puntawarri’s close proximity to Jigalong Mission made it a popular site for Martu to visit during the ‘mission days’. Dale was born at Jigalong Mission, and continues to live in the community now located there today. Though she grew up in the dormitory at Jigalong, she spent her weekends and holidays in the bush, camping at sites such as Puntawarri with her extended family. Once married, she lived around Puntawarri, walking and hunting in the surrounding Country.

For many Martu, like Dale’s family, Jigalong Mission was the site where their pujiman (traditional, desert dwelling) lifestyle came to an end from the late 1940s as they transitioned to a life as stockmen and women working in cattle stations in the Pilbara region and beyond. In the wake of the extreme and prolonged drought of the 1960s, the last of the remaining pujimanpa (desert dwellers) were forced to move to missions like Jigalong, where a supply of food and water was assured. There, many Martu were reunited with family members that had already moved in from the desert.

The waterhole at Puntawarri is said to be populated by several kinds of ancestral jila, as referred to by Dale in her account. However the site is best known for its association with the Ngayurnangalku, fearsome ancestral cannibal beings. During the Jukurrpa (Dreaming) the Ngayurnangalku came together from all over the desert, first stopping near Puntawarri on their travels to Kumpupirntily (Kumpupintily, Lake Disappointment). At Kumpupirntily, they had a big meeting to debate whether or not they would continue to live as cannibals, and eventually came to the decision to stop eating people. That night, a female baby cannibal was born to the eastern Ngayurnangalku on the red sandhills at Puntawarri, where she continues to live today as the ‘big mummy’ Ngayurnangalku. Following protocol, the baby also had to be consulted by the group. She determined that the Ngayurnangalku should continue to eat people. Her decision divided the group, and from this point the group from the east continued to live as ‘bad’ cannibals at Kumpupirntily, while the group from the west became ‘good’, thereafter consuming only animals.

111582404248



Tuwa

‘’Went with Martumili. Old Jigalong. Judith’s nanna Country, where Judith nanna was born. Went from old Jigalong to Jigalong to right through Parnngurr, Camped the night and then Judith’s pop went to pick him up. His name is Mr Rowlands and I call him brother. He showing me where my nanna’s Country started from Parnngurr towards Lake Disappointment. We camped the night. Judith’s nanna was getting cheeky bossing him (Mr Rowland) around; “we not married anymore that’s why I left him.” Between Lake Disappointment and Durba Springs (Pinpi) there were these beautiful rolling sand hills, we winding through them over top, we stopped half way and I looked out to the sunset saw all the glistening spinifex. The orange from the sunset lit the sand dunes up. When I do the Tuwa paintings I think of that day.’’

– Kathleen Sorensen

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.

111582404247



Tuwa

‘’Went with Martumili. Old Jigalong. Judith’s nanna Country, where Judith nanna was born. Went from old Jigalong to Jigalong to right through Parnngurr, Camped the night and then Judith’s pop went to pick him up. His name is Mr Rowlands and I call him brother. He showing me where my nanna’s Country started from Parnngurr towards Lake Disappointment. We camped the night. Judith’s nanna was getting cheeky bossing him (Mr Rowland) around; “we not married anymore that’s why I left him.” Between Lake Disappointment and Durba Springs (Pinpi) there were these beautiful rolling sand hills, we winding through them over top, we stopped half way and I looked out to the sunset saw all the glistening spinifex. The orange from the sunset lit the sand dunes up. When I do the Tuwa paintings I think of that day.’’

– Kathleen Sorensen

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.

111582404246



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.

111582404244



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.