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Language Boundaries

This is Kumpaya’s Country- her ‘ngurra’ (home Country, camp). People identify with their ngurra in terms of specific rights and responsibilities, and the possession of intimate knowledge of the physical and cultural properties of one’s Country. Painting ngurra, and in so doing sharing the Jukurrpa (Dreaming) stories and physical characteristics of that place, has today become an important means of cultural maintenance. 

Kumpaya’s ngurra encompasses the Country that she and her family walked in the pujiman (traditional, desert-dwelling) era. At this time she travelled nomadically with her own and other family groups, traversing an enormous tract of land around the middle section of the Canning Stock Route, and between Punmu Aboriginal community and Kiwirrkura, more than 500 kilometres eastward. 

Kumpaya was born close to Kiwirrkurra, a rockhole located in the Gibson Desert and to the south west of Lake McKay. She grew up, walked and hunted primarily around this area. As a young woman Kumpaya travelled westward, through to Kunawarritji (Canning Stock Route Well 33). She continued to live nomadically before eventually deciding to move to Jigalong Mission along with many other relatives following an extreme and prolonged drought in the 1960s. 

Portrayed in this work are features of Kumpaya’s ngurra, such as the striking salt lakes, dominant permanent red tali (sandhills), warta (trees, vegetation), and the individually named water sources she and her family camped at. These include Luurnkurangu, Karingkarra , Katarta, Pinkari, Pintu-pintu, Yanjiwara, Kunalimpi, Juntu-juntu (Canning Stock Route Well 30), Warla-warla (Canning Stock Route Well 31), Kunawarritji, Kinyu (Canning Stock Route Well 35), Natawalu (Canning Stock Route Well 40), and Kupankurlu. Rock holes, waterholes, soaks and springs were all extremely important sites for Martu people during the pujiman period, and are generally depicted with circular forms. 

The encyclopaedic knowledge of the location, quality and seasonal availability of the hundreds of water bodies found in one’s Country sustained Martu as they travelled across their Country, hunting and gathering, visiting family, and fulfilling ceremonial obligations. They would traverse very large distances annually, visiting specific areas in the dry and wet season depending on the availability of water and the corresponding cycles of plant and animal life on which hunting and gathering bush tucker was reliant. As they travelled and hunted they would also burn areas of Country, generating a greater diversity of plant and animal life.

Name: Clifton Girgiba


Language: Manyjilyjarra


Community: Parnngurr


Biography:

“I am Clifton Girgirba my nickmane is Gibon, I was born in Port headland, I grew up in Jigalong Community in the 80’s then I moved  to camp 61, the first shelter school there, then I went back to Jigalong did school and language there, In ’87 [during the ‘Return to Country’ movement] we moved to Parnngurr with my foster mother Thelma (Judson). We all lived in the humpy’s first before the houses, no airport, no clinic, no shop.  We just had a generator, we camped next to the hill side. We moved west before the houses came.  The school opened in the 90’s it was the first building. I went to school doing art, sewing and carving that’s when I learned about art.

I moved around a bit to Wiluna, Woodstock, Punmu, Hedland and Newman throughout the 90’s. It was In 1993 I settled in Parnngurr, till today that’s my home. In those days I learnt how to go hunting, burn country learn about plants and animals, cultural things. All them old people were teaching us. Seed collecting and hunting you learn young, I learned a lot, all the waterholes and dreaming stories, like seven sisters. In 2002 when we got native title I was a young chairman for the school and the community, been on that board of directors for 10 years. Then came KJ (Kanyirninpa Jukurrpa, ranger organisation) and Martumili (Artists), I meet Gabrielle (Martumili Manager) and Peter Jonhston (KJ Dirctor), Muuki (Taylor) wanted to start up the KJ rangers, I got involved with Martumili doing interpreting first years before I started painting.

With the rangers I discovered some waterholes and soaks with my grandmother, studying language, clans, kinship, tribes we talk about those invisible boarders, areas, like rocky area, sand dune area, I started to learn about knowledge, then I knew who I was, I was just a person before but now because of my grandmother I know who I am.

I do mapping, leadership, and governance. When I got all this knowledge from the Country from my Elders: mother Thelma (Judson) Yimiri area and my grandmother Kumpaya (Girgirba) Kunawarritiji side , Muuki and Wokka Kiriwirri area and Ngamaru (Bidu) Pitu side.  Then I really loved it, I have all the knowledge from them that I’m passing, now I’m doing my own program wama wangka (talking about alcohol).

I got nyniti (knowledge) from my grandmother for painting. I realised it’s better for my mind that I do painting, clear my mind and relax and keeps my mind focused, learn about country same time.

I’m a music man, started music with Wild Dingo Band and Parnngurr band, it’s about getting that band together, it feels good coz Martu people they like music in language, music is art, in the pujiman (traditional, desert dwelling) days they used to sing walking country. Wild Dingo Band do songs about wama (alcohol), kids, family, language, country and community we supporting and encouraging people to come back to community away from town and wama, same time its learning kids for their language.

Now I’m doing language in the schools too. My aim is two way learning teaching kids identity and to be proud of who they are. Kids are asking questions where am I from? Martu wangka sounds are different to English they got to know both to survive.

I’m also working in the justice system bringing government people to Martu people, to have a voice and partnership, a better future.  

I love what I do.”


© the artist / art centre