December 2025

114182410336

Kungkarrangkalpa (Seven Sisters)

‘Kungkarrangkalpa’ (The Seven Sisters or Pleaides) is significant Tjukurrpa (dreamtime). Its origins you may be familiar with in astronomy and its connection to ‘Wati Nyiru’ (Magic Man or Orion).  The roots of this dreaming stems across indigenous groups around the world. The Australian Aboriginal songline is one part to the whole dreaming which can be traced all around the world. The ladies of the Ngaanyatjarra Lands depict their significant chapter and understanding of the journey of the sisters. The different versions of this story depend on where you live and the significance’s of local Tjukurrpa places.

Nyiru fell in love with the sisters but he was of the wrong skin group to marry, but he still pursued them on their journey. The sisters travel across the land to escape Nyiru’s unwanted attentions, but he is persistent and always finds them. There are significant land forms which can be sited today that evidence this dreaming. As Nyiru is chasing the sisters he tries to catch them by using magic to turn into the most tempting kampurarrpa (bush tomato) and the most beautiful Yirli (wild fig tree), for them to eat and camp under. However, the sisters are knowledgeable of his magic and too clever for Nyiru who they outwit again and again. They go hungry and run through the night rather than be caught by him. As the journey continues, Nyiru gets so frustrated at the wit of the sisters that he uses his magic to make the oldest sister sick to try and get closer to her. The other sisters rescue the big sister and nurse her back to health. It is said he also captures the youngest sister, but with the help of the oldest sister, she escapes back to her sisters who are waiting for her. Eventually, the sisters fly into the sky to escape Nyiru, forming the constellation. Nyiru felt lonely, longing for the sisters who were so far away. Nyiru used his magic to go to the sky, forever in pursuit.

By , ago

114182410335

Kungkarrangkalpa (Seven Sisters) – Kuru Ala

Kuru Ala is a important women’s sites associated with the Kungkarrangkalpa (Seven Sisters) Tjukurrpa (Dreaming / story) across the Western and Central Deserts. Located south, west of Papulankutja (Blackstone), the site holds deep cultural, spiritual, and ceremonial significance for women in the Ngaanyatjarra Lands.

In the sky, Wati Nyiru is associated with Orion’s Belt, while the sisters become the star cluster known widely as the Pleiades. Many desert families still track these stars seasonally, tying sky and Country together in the story.

This place marks a key moment in the Seven Sisters story, where the sisters rested, gathered strength, and cared for one another while escaping the persistent pursuit of Wati Nyiru. The surrounding caves, rock formations, and ground features are recognised as physical evidence of the ancestral events that took place here during the Tjukurrpa.

Across many desert communities, the Seven Sisters Tjukurrpa follows the travels of the sisters as they move through Country, constantly evading Nyiru, who uses magic to disguise himself in many forms — bush foods, trees, and even animals — in an attempt to catch them. At Kuru Ala, the sisters stop to protect and heal the eldest sister before continuing their journey eastward.

Today, Kuru Ala remains an active cultural site, cared for and visited by women with ties to this Country. The story is still taught, sung, and remembered. The paintings created by artists of Papulankutja and Mantamaru reflect both the ancestral narrative and the living landscape, mapping the caves, water sources, and pathways the sisters travelled.

By , ago

114182410334

‘Kungkarrangkalpa’ (The Seven Sisters / Pleiades) – Angela Lyons

‘Kungkarrangkalpa’ (The Seven Sisters / Pleiades) is an important Tjukurrpa (Dreaming) across the Ngaanyatjarra Lands. Many families hold knowledge for different parts of this story, and each community paints its own chapter according to Country and ancestral responsibility.

Angela’s paintings focus on the celestial aspect of the story — the moment the sisters move from the earth into the sky. The star cluster becomes the seven bright forms she paints: six surrounding one, often arranged like a shield pattern. This reflects the way the sisters move together, protect each other, and travel as a tight group while fleeing Wati Nyiru, who appears in the sky as Orion’s Belt.

Nyiru follows the sisters across Country, disguising himself with magic — turning into kampurarrpa (bush tomato), a yirli (wild fig), or even a tree — trying to tempt them. But the sisters see through his tricks, outwit him, and keep running. When the chase becomes too much, they rise into the sky, forming the Pleiades. Nyiru follows them, always behind, never close enough.

Angela expresses this story using bold, high-contrast colours and strong circular forms. Her shield-like shapes represent the sisters’ strength and unity, while the central star often marks the eldest sister — the one the others protect along the journey. Through her palette and composition, Angela brings the energy, movement, and brightness of the sky-world into her canvas.

This painting is a contemporary interpretation of a cultural story carried across generations, connecting sky, Country, and ancestral memory.

By , ago

114182410333

‘Kungkarrangkalpa’ (The Seven Sisters / Pleiades) – Angela Lyons

‘Kungkarrangkalpa’ (The Seven Sisters / Pleiades) is an important Tjukurrpa (Dreaming) across the Ngaanyatjarra Lands. Many families hold knowledge for different parts of this story, and each community paints its own chapter according to Country and ancestral responsibility.

Angela’s paintings focus on the celestial aspect of the story — the moment the sisters move from the earth into the sky. The star cluster becomes the seven bright forms she paints: six surrounding one, often arranged like a shield pattern. This reflects the way the sisters move together, protect each other, and travel as a tight group while fleeing Wati Nyiru, who appears in the sky as Orion’s Belt.

Nyiru follows the sisters across Country, disguising himself with magic — turning into kampurarrpa (bush tomato), a yirli (wild fig), or even a tree — trying to tempt them. But the sisters see through his tricks, outwit him, and keep running. When the chase becomes too much, they rise into the sky, forming the Pleiades. Nyiru follows them, always behind, never close enough.

Angela expresses this story using bold, high-contrast colours and strong circular forms. Her shield-like shapes represent the sisters’ strength and unity, while the central star often marks the eldest sister — the one the others protect along the journey. Through her palette and composition, Angela brings the energy, movement, and brightness of the sky-world into her canvas.

This painting is a contemporary interpretation of a cultural story carried across generations, connecting sky, Country, and ancestral memory.

By , ago

111582410307

Pitu (Separation Well)

“Pitu (Separation Well) is my grandfather’s Country, Wikiri is my nanna’s country, GJ (Georgia) Bore is my mama’s country and in the middle is Wantili.

I’m painting the Country. My grandmother and grandfather was from this Country. They walked around eating, hunting, making fire from the spinifex on this Country.

You can see all the way through; GJ Bore to Pitu, with Wantili in the middle. Ngayuku ngurra (my home Country, camp). That’s my home.”

– Brett Bidu

In this work Brett depicts his ngurra. 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. Country for Martu is full of memory; not just the memory of their own movement through it, but also of their family. 

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.  

Pitu is an important 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.

Wikiri (Midway Well) is a large soak and claypan located southeast of Parnngurr Aboriginal community. A windmill has been built at the site to access the permanent underground water available there. The many foods and seeds found at Wikiri were left by ancestors in the Jukurrpa (Dreaming), Wirnpa and Jaramarra, rainmaking snakes that now reside around the Great Sandy Desert’s Percival Lakes region, and at the northernmost boundary of Martu Country.

Wantili (Warntili, Canning Stock Route Well 25) is a large round jurnu (soak) and linyji (claypan) near Well 25 on the Canning Stock Route. It is also an incredibly important cultural site, ‘where the creation started.’ (Cyril Whyoulter). The area is dominated by claypans surrounded by tuwa (sandhills), and Nyilangkurr, a prominent yapu (hill) is located on the 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 can still be found there today. 

By , ago

111582410306

Pitu (Separation Well)

“Pitu (Separation Well) is my grandfather’s Country, Wikiri is my nanna’s country, GJ (Georgia) Bore is my mama’s country and in the middle is Wantili.

I’m painting the Country. My grandmother and grandfather was from this Country. They walked around eating, hunting, making fire from the spinifex on this Country.

You can see all the way through; GJ Bore to Pitu, with Wantili in the middle. Ngayuku ngurra (my home Country, camp). That’s my home.”

– Brett Bidu

In this work Brett depicts his ngurra. 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. Country for Martu is full of memory; not just the memory of their own movement through it, but also of their family. 

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.  

Pitu is an important 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.

Wikiri (Midway Well) is a large soak and claypan located southeast of Parnngurr Aboriginal community. A windmill has been built at the site to access the permanent underground water available there. The many foods and seeds found at Wikiri were left by ancestors in the Jukurrpa (Dreaming), Wirnpa and Jaramarra, rainmaking snakes that now reside around the Great Sandy Desert’s Percival Lakes region, and at the northernmost boundary of Martu Country.

Wantili (Warntili, Canning Stock Route Well 25) is a large round jurnu (soak) and linyji (claypan) near Well 25 on the Canning Stock Route. It is also an incredibly important cultural site, ‘where the creation started.’ (Cyril Whyoulter). The area is dominated by claypans surrounded by tuwa (sandhills), and Nyilangkurr, a prominent yapu (hill) is located on the 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 can still be found there today. 

By , ago

111582410305

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.

By , ago

111582410304

Pitu (Separation Well)

“Pitu (Separation Well) is my grandfather’s Country, Wikiri is my nanna’s country, GJ (Georgia) Bore is my mama’s country and in the middle is Wantili.

I’m painting the Country. My grandmother and grandfather was from this Country. They walked around eating, hunting, making fire from the spinifex on this Country.

You can see all the way through; GJ Bore to Pitu, with Wantili in the middle. Ngayuku ngurra (my home Country, camp). That’s my home.”

– Brett Bidu

In this work Brett depicts his ngurra. 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. Country for Martu is full of memory; not just the memory of their own movement through it, but also of their family. 

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.  

Pitu is an important 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.

Wikiri (Midway Well) is a large soak and claypan located southeast of Parnngurr Aboriginal community. A windmill has been built at the site to access the permanent underground water available there. The many foods and seeds found at Wikiri were left by ancestors in the Jukurrpa (Dreaming), Wirnpa and Jaramarra, rainmaking snakes that now reside around the Great Sandy Desert’s Percival Lakes region, and at the northernmost boundary of Martu Country.

Wantili (Warntili, Canning Stock Route Well 25) is a large round jurnu (soak) and linyji (claypan) near Well 25 on the Canning Stock Route. It is also an incredibly important cultural site, ‘where the creation started.’ (Cyril Whyoulter). The area is dominated by claypans surrounded by tuwa (sandhills), and Nyilangkurr, a prominent yapu (hill) is located on the 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 can still be found there today. 

By , ago

111582410303

Pitu (Separation Well)

“Pitu (Separation Well) is my grandfather’s Country, Wikiri is my nanna’s country, GJ (Georgia) Bore is my mama’s country and in the middle is Wantili.

I’m painting the Country. My grandmother and grandfather was from this Country. They walked around eating, hunting, making fire from the spinifex on this Country.

You can see all the way through; GJ Bore to Pitu, with Wantili in the middle. Ngayuku ngurra (my home Country, camp). That’s my home.”

– Brett Bidu

In this work Brett depicts his ngurra. 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. Country for Martu is full of memory; not just the memory of their own movement through it, but also of their family. 

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.  

Pitu is an important 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.

Wikiri (Midway Well) is a large soak and claypan located southeast of Parnngurr Aboriginal community. A windmill has been built at the site to access the permanent underground water available there. The many foods and seeds found at Wikiri were left by ancestors in the Jukurrpa (Dreaming), Wirnpa and Jaramarra, rainmaking snakes that now reside around the Great Sandy Desert’s Percival Lakes region, and at the northernmost boundary of Martu Country.

Wantili (Warntili, Canning Stock Route Well 25) is a large round jurnu (soak) and linyji (claypan) near Well 25 on the Canning Stock Route. It is also an incredibly important cultural site, ‘where the creation started.’ (Cyril Whyoulter). The area is dominated by claypans surrounded by tuwa (sandhills), and Nyilangkurr, a prominent yapu (hill) is located on the 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 can still be found there today. 

By , ago

111582410302

Pitu (Separation Well)

“Pitu (Separation Well) is my grandfather’s Country, Wikiri is my nanna’s country, GJ (Georgia) Bore is my mama’s country and in the middle is Wantili.

I’m painting the Country. My grandmother and grandfather was from this Country. They walked around eating, hunting, making fire from the spinifex on this Country.

You can see all the way through; GJ Bore to Pitu, with Wantili in the middle. Ngayuku ngurra (my home Country, camp). That’s my home.”

– Brett Bidu

In this work Brett depicts his ngurra. 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. Country for Martu is full of memory; not just the memory of their own movement through it, but also of their family. 

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.  

Pitu is an important 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.

Wikiri (Midway Well) is a large soak and claypan located southeast of Parnngurr Aboriginal community. A windmill has been built at the site to access the permanent underground water available there. The many foods and seeds found at Wikiri were left by ancestors in the Jukurrpa (Dreaming), Wirnpa and Jaramarra, rainmaking snakes that now reside around the Great Sandy Desert’s Percival Lakes region, and at the northernmost boundary of Martu Country.

Wantili (Warntili, Canning Stock Route Well 25) is a large round jurnu (soak) and linyji (claypan) near Well 25 on the Canning Stock Route. It is also an incredibly important cultural site, ‘where the creation started.’ (Cyril Whyoulter). The area is dominated by claypans surrounded by tuwa (sandhills), and Nyilangkurr, a prominent yapu (hill) is located on the 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 can still be found there today. 

By , ago