These bush flowers grow seasonally in Alyawarr country, some of which are also used in bush medicine remedies.
When I go out hunting, I like to see all the bush flowers that are flowering and then when I come back, I paint them.
The artists of Ampilatwatja made a conscious decision not to paint altyerr (dreaming stories). The artists paint their country where those stories sit.
Kwetyaylp (donkeys) and nantew (horses) would come and drink from the water at Spring Creek on my father’s country. We would put a bucket in the sand we would filter the water so we could drink it.
When I was young girl we would go to Canteen Creek following the track along the hills, we would hunt turkey, emus and kangaroo and we would cut the bark and collect the sap from the sugar bag trees. `
When I go hunting for aker arlkerl (echidna) around the sandhills of Ampilatwatja I always spot the wild flowers and honey flowers. We tap the Bankias against our hand and get the honey, it is sweet to taste.
After the rain and bushfires all the new flowers pop up around me. My favourite time of the year is winter when it is cooler to walk and hunt.
The community of Ampilatwatja made a conscious decision not to paint altyerr (dreaming stories). The artists paint their country where those stories sit.
This is my mothers country, Tijamburra, we go hunting there for wild onions, goannas, echidnas and sugarbag honey in the trees. I like to hunt there, there’s water all year round. Even if it doesn’t look like there is, we follow the bird tracks to know where to dig and we find water.
From living here in the remote community of Ampilatwatja, going hunting out bush and traveling for family and ceremonies Eileen knows this land, her country.
The community of Ampilatwatja made a conscious decision not to paint altyerr (dreaming stories). The artists paint their country where those stories sit.
Awenhenheng (old lady with nephew’s). The old lady is walking with her nephew’s Alura [sic] and Artija [sic] to find soakage (where to find water). They find the soakage has dried up and they have no water, so they have to walk to another country. They are hunting for kangaroo with their dog Canjalo [sic] and the old lady carries a coolamon under her arm full of bush tucker.
Kaalpa (Kalypa, Canning Stock Route Well 23) 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, toward 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.
At Kaalpa the Minyipuru (Jakulyukulyu, Seven Sisters) met a group of men; it was the first time either group had seen members of the opposite sex. The men were sitting down at Kaalpa doing law business when the Minyipuru arrived. They tried to grab the women, but the Minyipuru chased them, hitting them with their digging sticks and whipping them, then leaving them lying there. From Kaalpa the Minyipuru continued dancing as they travelled to Kartarru (Canning Stock Route Well 24).
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. Beginning in Roebourne on the west coast of Western Australia, the story morphs in its movement eastward across the land, following a group of 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 (traditional, desert dwelling) 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 (desert dwellers) 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.
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.
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.
Kaalpa (Kalypa, Canning Stock Route Well 23) 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, toward 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.
At Kaalpa the Minyipuru (Jakulyukulyu, Seven Sisters) met a group of men; it was the first time either group had seen members of the opposite sex. The men were sitting down at Kaalpa doing law business when the Minyipuru arrived. They tried to grab the women, but the Minyipuru chased them, hitting them with their digging sticks and whipping them, then leaving them lying there. From Kaalpa the Minyipuru continued dancing as they travelled to Kartarru (Canning Stock Route Well 24).
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. Beginning in Roebourne on the west coast of Western Australia, the story morphs in its movement eastward across the land, following a group of 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 (traditional, desert dwelling) 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 (desert dwellers) 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.
“I paint Pitu because my father come[s] from Pitu and all the rest of the family, they belong to there. Family hear the stories all the time from Jakayu [Biljabu]. It’s their connection to that place. All the old people were walking through that area, aunty Jakayu was born there. It’s a sad story, hers. We [went] there… to see it again. It’s a long, long way from Punmu. All the other family [saw] where their family is from and where they belong to.”
– Kuru Gladys Bidu
Pitu (Separation Well) forms part of Kuru’s ngurra (home Country, camp) through her father. It is a significant 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. At this time, knowledge of water sources was critical for survival, and today Martu Country is still defined in terms of the location and type of water. Each of the hundreds of claypans, rockholes, waterholes, soaks and springs found in the Martu desert homelands is known by name, location, quality and seasonal availability through real life experience and the recounting of Jukurrpa (Dreaming) narratives.
Soaks, or soakwaters, derive their name from the manner in which their waters generally seep into the sand from below stores, sometimes as part of an ephemeral river or creek. Soaks were an especially important source of water during the pujiman era, being the most dependable water source in times of drought. Water was obtained from soaks by scooping away the sand with a piti (timber bowls used for carrying food and water) until clear water gathered at the base of the hole, sometimes at a depth of several metres. Pitu is also surrounded by shrubs that need to be cleared to access its waters.