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Published by on August 28, 2021

Waru (fire)

This work depicts the practice of fire burning as it continues to be used today through the Martu homelands. Over thousands of years, as Martu travelled and hunted on foot they would burn tracts of land, using waru (fire) as a means to assist with hunting and to encourage regenerative growth. Whilst fire burning practices have modernised in recent times, with Martu burning areas close to Aboriginal communities and along roads, or else further afield using helicopters and 4WDs with Indigenous ranger group Karnyirninpa Jukurrpa (KJ), the same objectives are met as those during pujiman (traditional, desert dwelling) times.

Targeted waru is an important tool in animal tracking. Small burns are lit to clear vegetation, expose burrows, and to allow for access to walk and track readily in exposed sands. Fires are typically burnt during cooler weather in small, controlled areas, reducing the risk of unmanageable, spontaneous bush fires whilst simultaneously providing diverse regenerating habitats. Remaining is a defined mosaic fire scar pattern in the land, across tali (sand dunes), linyji (clay pans), parulyukurru (spinifex country) and pila (sandy plains). This patterning is clearly visible from an aerial perspective, and becomes even more defined as new growth emerges.

The patchwork nature of regrowth is aligned with the Martu cycle of burning and regrowth and its five distinct phases. First is nyurnma (freshly burnt Country), followed after the rains by waru-waru, when young, bright green plants start to grow. Nyukura occurs between one and three years after burning, when plants have matured and are fruiting and seeding. Manguu is four to six years post burning, when spinifex has matured to the point that it can be burned once again. Finally, kunarka signifies the time when spinifex and other plant species have become old growth, and pose a risk of destructive bushfires.

Categories: Shire of East Pilbara (Martumili Artists)

Name: Helen Samson

Language: Warnman

Community: Jigalong

Biography:

“I been painting in Jigalong long time. I’ve been working at the school there. Take the kids to school. Long time I been working there and at Punmu school, yeah for the kids, yeah long time. I been working and I tell a story for the children.

Now I learn [to paint] myself. I do it myself. I been do drawing, nice colours and then think, think, think. Thinking in my head. And thinking what I can draw with. Just draw it first and do it slowly like that, yeah? Yuwayi (yes).”

- Helen Dale Samson

Helen Dale Samson is a Warnman woman and custodian of the Karlamilyi (Rudall River) region, where her family travelled during the pujiman (traditional, desert dwelling) era. She is the youngest sister of fellow Martumili Artists Jatarr Lily Long and Wurta Amy French, but unlike her sisters, she was born in Jigalong Mission and has no memory of her parents. Her family had decided to relocate to the mission in order to be reunited with family members that had already moved in from the desert, and to access an assured supply of rationed food. Dale grew up in the mission dormitory, schooling and working during the week, but spent her weekends and holidays camping in the Country surrounding Jigalong and Puntawarri with her extended family.

Once married, Dale lived around Puntawarri and Nguyakurlu rockholes, walking and hunting there. Later, like many Martu, she worked at various stations around the Pilbara, including Mundawindi (Mundiwinti) and Sylvania Stations. In more recent years Dale returned to Jigalong Aboriginal community, where she continues to live today with her children and grandchildren.

Dale has established a reputation as a dedicated and innovative painter and weaver. She paints about the old mission days and the places she and her ancestors travelled, along with their associated Jukurrpa (Dreaming) stories. Dale’s vibrant paintings meld a naive Western style with unique, textured motifs and multiple perspectival views of her Country. She is particularly adept at describing the gorgeous array of flora that covers Martu Country, abstracting flowers and trees into beautiful patterns.

Helen Dale Samson is a Warnman woman and custodian of the Karlamilyi (Rudall River) region, where her family travelled during the pujiman (traditional, desert dwelling) era. She is the youngest sister of fellow Martumili Artists Jatarr Lily Long and Wurta Amy French, but unlike her sisters, she was born in Jigalong Mission and has no memory of her parents. Her family had decided to relocate to the mission in order to be reunited with family members that had already moved in from the desert, and to access an assured supply of rationed food. Dale grew up in the mission dormitory, schooling and working during the week, but spent her weekends and holidays camping in the Country surrounding Jigalong and Puntawarri with her extended family.

Once married, Dale lived around Puntawarri and Nguyakurlu rockholes, walking and hunting there. Later, like many Martu, she worked at various stations around the Pilbara, including Mundawindi (Mundiwinti) and Sylvania Stations. In more recent years Dale returned to Jigalong Aboriginal community, where she continues to live today with her children and grandchildren.

Dale has established a reputation as a dedicated and innovative painter and weaver. She paints about the old mission days and the places she and her ancestors travelled, along with their associated Jukurrpa (Dreaming) stories. Dale’s vibrant paintings meld a naive Western style with unique, textured motifs and multiple perspectival views of her Country. She is particularly adept at describing the gorgeous array of flora that covers Martu Country, abstracting flowers and trees into beautiful patterns.

© the artist / art centre