December 2025

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Women collecting bush foods

The Anangu people travelled vast desert landscapes, following the seasons for food and shelter, deeply attuned to the rhythms of the land. This resilience and wisdom embedded in traditional bush foods that sustained them across generations.

Maku (Witchety Grubs), with their creamy, nutty flavour, represent survival and the resourcefulness to draw nourishment from deep within tree roots. Kampurarrpa (Desert Raisins), small and tangy, add brightness and essential nutrients to desert diets, thriving under intense sun.

Ipalu (Bush Banana), a climbing vine with crisp, slender fruits, offers fibre and hydration—a refreshing staple in arid climates. Ili (Bush Figs), with their mild sweetness, grow from rugged trees, offering a delicate treat in the harsh terrain.

Through vibrant colours and intricate designs, these bush foods embody the spirit of Ngaanyatjarra culture, each a testament to the land’s gifts and the knowledge passed through generations.

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114182409202

Women collecting bush foods

The Anangu people travelled vast desert landscapes, following the seasons for food and shelter, deeply attuned to the rhythms of the land. This resilience and wisdom embedded in traditional bush foods that sustained them across generations.

Maku (Witchety Grubs), with their creamy, nutty flavour, represent survival and the resourcefulness to draw nourishment from deep within tree roots. Kampurarrpa (Desert Raisins), small and tangy, add brightness and essential nutrients to desert diets, thriving under intense sun.

Ipalu (Bush Banana), a climbing vine with crisp, slender fruits, offers fibre and hydration—a refreshing staple in arid climates. Ili (Bush Figs), with their mild sweetness, grow from rugged trees, offering a delicate treat in the harsh terrain.

Through vibrant colours and intricate designs, these bush foods embody the spirit of Ngaanyatjarra culture, each a testament to the land’s gifts and the knowledge passed through generations.

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Bathi (Pandanus Basket)

Yolŋu weavers of Arnhem Land create utilitarian, ceremonial, and decorative pieces using naturally sourced materials. This Bathi (Pandanus Basket) is made from young Pandanus spiralis leaves, harvested with a wooden hook, stripped of prickles, and dried to create strong, resilient fibres. These fibres are then twisted, coiled, or woven using various techniques to produce both functional and decorative baskets.

Typically, Bathi are made using a coiling technique which was adapted from techniques used by Indigenous women throughout Southeast Australia. Introduced to Arnhem Land weavers in the 1930’s as Missionaries began commissioning pieces in this style.

Bula’bula weavers exclusively use natural dyes, derived from locally sourced roots, leaves and grasses. These pigments are extracted and infused into pandanus fibres by boiling over an open fire, producing the rich, vibrant colours characteristic of contemporary Yolŋu weavings.

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Woven Barramundi

Yolŋu weavers of Arnhem Land craft both utilitarian and ceremonial objects using naturally sourced materials, with more recent works also including decorative pieces, such as this woven barramundi.

The primary material used in this piece is the young, green leaves of the Pandanus spiralis tree, that are harvested using a long wooden hook. The leaves are stripped of their prickles, with the smaller fibres being dried to produce a strong, resilient material. These fibres are then twisted, coiled, or combined using various techniques to create this motif of a barramundi, a vital and abundant food source for Yolŋu people.

Bula’bula weavers exclusively use natural dyes, derived from locally sourced roots, leaves and grasses. These pigments are extracted and infused into pandanus fibres by boiling over an open fire, producing the rich, vibrant colours characteristic of contemporary Yolŋu weavings.

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The boy who turned into wind (pirriya) at Walu rockhole

This story is about a young boy who had no parents and was neglected.

There were two men (the boy’s uncles) and one young boy camping at Walu Rockhole, an important water site in the Gibson Desert, northwest of the tri-state border between Western Australia, the Northern Territory and South Australia. 

The men went hunting and the boy stayed behind waiting. The men returned with an emu and pulled out its heart. The boy was holding the heart and blood spilt out onto the rocks. He ran away with the heart and turned into a big whirlwind. The big whirlwind. came up and swept the families away. Today you can still see the emu’s blood trail where it stained the rocks.

Walu rock hole is a special place north of Papulankutja (Blackstone) where traditionally Yarnangu families would gather when water was available in the holes found in a flat rocky area.

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Nyuku Ngurra

These are the rockholes round about Blackstone. Nyuku Ngurra (my home).
This is a well, we used to pump the water from the hill but it broke, long time ago. On the other side of the hill is the water tank. This (painting) is before that pump broke. Kapi Pulkana. We travelled from rockhole to rockhole.

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Kayawa (baby floor mat)

A round design depicting a small pandanus floor mat used to nurse a baby. 

This fabric was created using the linocut printing technique. The lino tile has been carved by the artist in Maningrida, and has been printed by hand using a variety of colours and layers. The linocut technique ensures each textile piece is a one-off, limited edition piece. Bábbarra Women’s Centre supports the economic independence of Indigenous women in the Arnhem Land community of Maningrida, Northern Territory, Australia. Designs created by the women at Bábbarra reflect strong cultural knowledge, which is passed down to younger generations through their textile design practice.

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Ngalng (Freshwater Crayfish)

‘This is a story from Mankorlod. This is a djang (creation) story. This is the creation story about the freshwater yabby. Starting with the stone, that’s the raw one and the cooked one. The stone rock suddenly turned to ngalng, in a flash. Ngalng started growing and turned into a body. It’s a magic one and it can change from rock to ngalng to human and back to ngalng. Now it’s a ngalng. 

The country is near Mankorlod and Korlobididah. The ngalng is stuck there forever on the rock at Korlobididah.’ 

‘There is also duruk (camp dog) called Djanbokkon. This is a duruk that comes from water and no one has seen it. This is a true duruk, he goes everywhere in the country. His body is striped. He is a secret dog and he has a secret story.’ 

Janet Marawarr 2022

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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.

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