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Plain didjeridu

Didjeridus from this region are made in the West Arnhem style. Called Mago, they’re different and special and follow the tradition made famous by Beswick’s Mago Master, elder David Blanasi.

Ghunmarn didjeridus are sourced on country, and hand cut from Woolybutt trees. Artists travel considerable distances on foot to find the right woolybutt tree naturally hollowed out by termites. Good instruments are hand-cut and taken back to camp to be worked, shaped, sanded, tuned and then finally painted.

These are top quality musical instruments, highly regarded worldwide, and still used in ceremony and performance today. Featuring traditional designs handed painted with a Jarlk grass brush.

 

Most Ghunamrn didjeridus are high pitch D, low pitch D, F, C or G. The longer the dij the lower the pitch, a shorter didj will give a higher sound.

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Diane Kemarre Ross – Atyenh Amper (My Country)

This is my country, it’s the country around Irrultja. This is where we like to go after big rain. After big rain there, we can go swimming. There is always good hunting on my country. It is good for me to paint my country and it makes me feel good.

The artists of Ampilatwatja made a conscious decision not to paint altyerr (dreaming stories). The artists paint their country where those stories sit.

 

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Maisie Petyarre Bundey – Anhelengkw (Emu) Dreaming

Anhelengkw (emu) dreaming is the breast body painting depicting the story of the mother emu who runs away and leaves the father emu to look after the eggs until they hatch, he then raises the chicks.

This story is passed down through Maisie’s family and celebrated in dance.

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Janella Kemarre Ross – Atyenh Amper – (My Country)

I paint the country that I come from, the beautiful landscapes and the many colours as they change during the seasons.

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Biggimelon

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.

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Purnumalarra

Purnumalarra is a waterhole located along the Karlamilyi River (Rudall River). 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.

Jila Kujarra is 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.

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Purnumalarra

Purnumalarra is a waterhole located along the Karlamilyi River (Rudall River). 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.

Jila Kujarra is 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.

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Lalapakujarra

Lalapakujarra is a creek located along the Karlamilyi River (Rudall River). 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.

Jila Kujarra is 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.

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Pulikati

“This is our father’s ngurra (home Country, camp). We slept here in this area, near to Wartararra hill, but you can’t go through there. Lot of snake around there. This one Pulikati hill, we used to go through a gap here. There is a quicksand there, people don’t go there, not allowed. We used to sing out to the jila (snake) here for water, from this side. The old people used to sing out; “Come on send the water for me. This is good Country for hunting marlu (kangaroo) and for minyarra (bush onions) and other foods.

There is a woman from the Jukurrpa (Dreaming) that lives here in a cave around here. She is a good woman as long as you don’t take men with you. She looks after her ngurra properly. If the white people come around to mine him, she’ll kill him!” 

 – Sisters Wurta Amy French and Jatarr Lily Long

Pulikati is a hill and important cultural area located at the western end of Karlamilyi River (Rudall River), around the Wartararra (Watrara) tributary and adjacent to Wartararra Hill. Wurta and her family used to travel through this Country, passing through a gap in the hills (top centre) to their camp on the other side. 

As described here by Wurta and her sister Jatarr, the area around Pulikati is home to ancestral Jukurrpa (Dreaming) beings; a fiercely protective woman who resides in a nearby cave, and a jila belonging to the adjacent yinta (permanent spring). The Western Desert term ‘jila’ is used interchangeably to describe springs considered to be ‘living’ waters and snakes, both of which play a central role in Martu culture and Jukurrpa.

During the pujiman (traditional, desert dwelling) period, knowledge of water sources was critical for survival, and today Martu Country is still defined in terms of the location of water sources. Of the many permanent springs in Martu Country, very few are ‘living waters’; waters inhabited by jila. Before they became snakes, these beings were men who made rain, formed the land and introduced cultural practices like ceremonies and ritual songs. Some of the men travelled the desert together, visiting one another, but they all ended their journeys at their chosen spring alone, transformed into a snake. These important springs are named after their jila inhabitant, guarding their waters.