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Warraburnburn

In Burarra and Gun-nartpa languages the figure represented in this artwork is generally known as a wangarra ‘ghost spirit’. For the Warrawarra clan ghost spirits have their own particular characteristics and their own name – Warraburnburn.

The Warraburnburn and the closely related Galabarrbarr spirit (owned by the Balkarranga clan) are also manikay song topics.  The spirits are related to each other as maternal grandparent and grandchild, just as the people of Warrawarra and Balkarranga are. The dancing of the two ghost spirit figures forms the finale performance for funerals, and is the final goodbye to a deceased family member.

In many ways the Warraburnburn and Galabarrbarr ghost spirits are like people. They emerge from the patches of jungle on Warrawarra and Balkarranga country in the late afternoon and go hunting in family groups of men, women and children. They stay in contact with each other by calling out as the men hunt for fish and the women walk with their dillybags looking for vegetable food. 

The ghost spirits are associated closely with white ochre and artists commonly paint the bodies of carved figures in white. Different types of ghost spirit wear different patterns. Warraburnburn is decorated with uniform white dots while others are painted white all over. Some ghost spirits are shown with a design painted on their chest infilled with rarrk ‘cross-hatching’, the same designs that are painted onto japi an-guyinda ‘male initiations’. 

They also have supernatural characteristics including superhuman size (jarra anbaykarda ‘super tall’). They know the country intimately – some are malevolent towards humans and will lead people astray, taking them to unfamiliar and dangerous places. These malevolent spirits are likened to an-muburda ‘sorcerers’ and can conduct dangerous rituals that cause harm to people. Others are benign and will lead humans back to familiar paths and their own camps.

 

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Status: Stock


Cushion Cover 45cmx45cm

Cushion Covers 45cmx45cm – envelope style.

Assorted Artist Designs on printed textiles.

Hand sewn locally in Broome.

Made from screen printed assorted textile prints created by Nagula Jarndu Artists and hand printed in Melbourne.

Your purchase of this garment provides income for Aboriginal women artists and helps give them a platform to share their culture and stories.

Nagula Jarndu (Saltwater Woman) is a not-for-profit, 100% Aboriginal owned and governed organisation and the profits from your purchase will go directly to the artist and back into the organisation to fund future projects.

Care and washing guide:
Our designs are hand screen printed onto quality fabric and professionally heat set.
Handwashing your garment in cold water and ironing from the inside-out, will ensure that it is and enjoyed for years to come.

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Status: Stock


Art Tram Merch 2026

Share our Elders’ stories with pride on all your adventures! 

Honour the heart and spirit of our Elders’ beloved RISING 2025 First Peoples Melbourne Art Tram, currently adorning a tram traveling Routes 3, 64 and 67 all across Melbourne. 

From bucket hats and enamel camping mugs to fun sticker sheets, each product in this collection spotlights an element from Nyini – Nyinin – Nyiniak (Past, Present, Future) – Blak, Loud and Proud (2024) by our Elders Laurel Robinson, Amy Briggs, Cynthia Hardie, and Rochelle Patten.  

 

A4 sheet of 24 kiss-cut stickers 

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Titjikala Shopping Day

Shopping day is Titjikala is a very busy day. Families gather at the shop to get food, kids playing in the yard and cars travelling to or from Alice Springs. 

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Kaalpa (Kalypa, Canning Stock Route Well 23)

“Kaalpa (Kalypa, Canning Stock Route Well 23) is my grandfather’s Country. There’s a waterhole there, Kaalpa waterhole. It’s my two pops’ Country. They been walking around, hunting around Kaalpa. You can see a yapu (rock), warla (lake), claypans, karru (creek) and tuwa (sandhills) there. It’s on the [Canning] Stock Route, it’s Well 23. One walypala One walypala (whitefella) well, and a real kalyu (water) there, jurnu. The Seven Sisters landed there, Jukurrpa (Dreaming). That man Yurla yapu (hill, stone, rock) there.” [Yurla, who chased the Seven Sisters during the Jukurrpa remains at Kaalpa in the form of a rock]) 

In pujiman (traditional, desert dwelling) days, pujimanpa (desert born people) walking around all this Country. My pops told me about that place, a big flat area, parlkarra (flat country) good for hunting parnajarrpa (goanna), lunki (witchetty grub), lungkurta (blue tongue lizard), wamurla (bush tomato), jinyjiwirrilyi (wild gooseberry). Kaalpa is a busy place for emus getting a drink. 

The old people were telling me “Kaalpa’s your grandfather’s Country, you gotta paint it.” I went [to Kaalpa] for the first time [in 2018] on a Martumili KJ [Kanyirninpa Jukurrpa] trip. We went out there when we were looking for the [Greater] Bilby. They took me and [my sister] Tamisha, they showed us our grandfather’s Country, Well 23. I went out there, had a good look, walked around, and went back to Wantili (Warntili, Canning Stock Route Well 25), Parnngurr, and I started painting it. Now it’s my mind, now I know what Kaalpa looks like. When I went there, I was pukurlpa (happy). It made you open up your spirit, it feels like home.”

 – Corban Clause Williams

Kaalpa is a permanent water source located northeast of Kumpupirntily (Kumpupintily, Lake Disappointment). This site is a place of great cultural significance, and is also known for good hunting. Adjacent to the waterhole is a hill of the same name. The landscape around Kaalpa is parlkarra (flat country), bordered by tali (sandhills) stretching as far as Windy Corner, northeast and towards the border of Western Australia and the Northern Territory. The large and dangerous Jukurrpa (Dreamtime) mosquito and fly beings partially created the landforms in this area and continue to live underground here.

Kaalpa also features in the Minyipuru (Jakulyukulyu, Seven Sisters) Jukurrpa, a central creation narrative for Martu, Ngaanyatjarra, Pitjantjatjara and Yankunytjatjara people that is associated with the seasonal Pleiades star constellation. At Kaalpa the Minyipuru met a group of men; it was the first time either group had seen members of the opposite sex. The men tried to grab the women, but the Minyipuru chased them, hitting them with their digging sticks and leaving them lying there as they continued travelling east.

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.

The intersection of the Canning Stock Route with Kaalpa also made this a site of early contact with Europeans for many Martu then living a pujiman life in the desert. Following the route’s construction, Martu encountered Europeans and other Martu working as cattle drovers as they would travel up and down the Stock Route from water source to water source. Increasingly, pujimanpa 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.

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Kaalpa (Kalypa, Canning Stock Route Well 23)

“Kaalpa (Kalypa, Canning Stock Route Well 23) is my grandfather’s Country. There’s a waterhole there, Kaalpa waterhole. It’s my two pops’ Country. They been walking around, hunting around Kaalpa. You can see a yapu (rock), warla (lake), claypans, karru (creek) and tuwa (sandhills) there. It’s on the [Canning] Stock Route, it’s Well 23. One walypala One walypala (whitefella) well, and a real kalyu (water) there, jurnu. The Seven Sisters landed there, Jukurrpa (Dreaming). That man Yurla yapu (hill, stone, rock) there.” [Yurla, who chased the Seven Sisters during the Jukurrpa remains at Kaalpa in the form of a rock]) 

In pujiman (traditional, desert dwelling) days, pujimanpa (desert born people) walking around all this Country. My pops told me about that place, a big flat area, parlkarra (flat country) good for hunting parnajarrpa (goanna), lunki (witchetty grub), lungkurta (blue tongue lizard), wamurla (bush tomato), jinyjiwirrilyi (wild gooseberry). Kaalpa is a busy place for emus getting a drink. 

The old people were telling me “Kaalpa’s your grandfather’s Country, you gotta paint it.” I went [to Kaalpa] for the first time [in 2018] on a Martumili KJ [Kanyirninpa Jukurrpa] trip. We went out there when we were looking for the [Greater] Bilby. They took me and [my sister] Tamisha, they showed us our grandfather’s Country, Well 23. I went out there, had a good look, walked around, and went back to Wantili (Warntili, Canning Stock Route Well 25), Parnngurr, and I started painting it. Now it’s my mind, now I know what Kaalpa looks like. When I went there, I was pukurlpa (happy). It made you open up your spirit, it feels like home.”

 – Corban Clause Williams

Kaalpa is a permanent water source located northeast of Kumpupirntily (Kumpupintily, Lake Disappointment). This site is a place of great cultural significance, and is also known for good hunting. Adjacent to the waterhole is a hill of the same name. The landscape around Kaalpa is parlkarra (flat country), bordered by tali (sandhills) stretching as far as Windy Corner, northeast and towards the border of Western Australia and the Northern Territory. The large and dangerous Jukurrpa (Dreamtime) mosquito and fly beings partially created the landforms in this area and continue to live underground here.

Kaalpa also features in the Minyipuru (Jakulyukulyu, Seven Sisters) Jukurrpa, a central creation narrative for Martu, Ngaanyatjarra, Pitjantjatjara and Yankunytjatjara people that is associated with the seasonal Pleiades star constellation. At Kaalpa the Minyipuru met a group of men; it was the first time either group had seen members of the opposite sex. The men tried to grab the women, but the Minyipuru chased them, hitting them with their digging sticks and leaving them lying there as they continued travelling east.

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.

The intersection of the Canning Stock Route with Kaalpa also made this a site of early contact with Europeans for many Martu then living a pujiman life in the desert. Following the route’s construction, Martu encountered Europeans and other Martu working as cattle drovers as they would travel up and down the Stock Route from water source to water source. Increasingly, pujimanpa 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.

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Where mother earth rests

This basket is woven in a deep brown dye, representing Mother Earth and the strength and grounding she provides. Resting on the side of the basket is a stone placed upon the bark from the Sydney Red Gum tree, symbolising connection to land, ancestry, and the life that continues to grow from Country. Together, these elements reflect balance, renewal, and the enduring relationship between people, culture, and the earth.

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Bush Jewellery – Earrings

The women of Maningrida and surrounding homelands use a combination of locally found seeds, bone and shells to make a variety of jewellery including necklaces. earrings and bracelets.  Many of the artists use complex patterns and designs to make their beautiful creations.

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Bush Jewellery – Earrings

The women of Maningrida and surrounding homelands use a combination of locally found seeds, bone and shells to make a variety of jewellery including necklaces. earrings and bracelets.  Many of the artists use complex patterns and designs to make their beautiful creations.

111982411701



Bush Jewellery – Earrings

The women of Maningrida and surrounding homelands use a combination of locally found seeds, bone and shells to make a variety of jewellery including necklaces. earrings and bracelets.  Many of the artists use complex patterns and designs to make their beautiful creations.