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Kintyre

“Young and old gotta do ‘im togther- old people gotta learn the young fellas about that place. Country. Martumili (belonging to Martu).”

 – Wokka Taylor

Produced to be a part of FORM’s Tracks We Share project, Martu artists embarked the creation of a large-scale collaborative painting depicting the Country and stories of Kintyre. Martu filmmaker and FORM project officer Curtis Taylor, FORM project officer Greg Taylor/Annie McLoughlin and Martumili staff and artists travelled to Parnngurr to attend an intense period of art making and conversation. Under the tutelage and direction from their elders, young artists laid the groundwork for the painting, with elders adding layers of details and knowledge to these foundations. Created by 23 artists over 18 months, the resulting artwork brings together stories of jukurrpa (dreaming), pre-colonial Martu life, personal histories, and contemporary mining interference with the important site of Kintyre, located within the heart of Martu Country- Karlamilyi national park.

Martu artists were part of the Western Desert Lands Aboriginal Corporation (WDLAC) 2021 AGM in Newman and unveiled the 5x3metre collaborative ‘Kintyre’ artwork to Martu Native Title holders and their families.  This was part of the Martu discussion about making a native title claim over Karlamilyi National park. Martu used the ‘Kintyre’ artwork to tell stories of great cultural importance and personal significance about this ngurra (Country, homeland), and to tell WDLAC to keep going with its work on getting this country back into Martu hands. The following day, Martu Elders and leaders showed and explained the ‘Kintyre’ work to WA Minister for Aboriginal Affairs, Hon Stephen Dawson.  Martu and WDLAC signed a shared statement of intent with the Minister, binding the Government and Martu to work together for Martu native title over Karlamilyi, as well as housing and community development reforms for Punmu, Kunawarritji and Parnngurr.

Kintyre is a claypan located just north of the Karlamilyi (Rudall River) region. During the pujiman (traditional, desert dwelling) era, the site was a popular camping ground in the wantajarra (wet season), when the claypan filled with kapi (water). Today Kintyre is best known for its substantial uranium deposits, and the area has been developed for mining. Protest from traditional land owners in combination with a declining uranium market have resulted in the project being put on hold for the time being.

 

Categories: Shire of East Pilbara (Martumili Artists)

Name: Ngamaru Bidu

Language: Manyjilyjarra

Community: Parnngurr

Biography:

“I been born [around] Karanyal and Martilirri (Canning Stock Route Well 22) in the parna (ground), only claypan. My jamu (grandfather) [was also] Jakayu [Biljabu's] father, my father's daddy. My mummy born long way, near to Wikirri (Midway Well) area. My father born Pitu (Separation Well). I’m biggest one [I was the eldest of five siblings]; me, Neil, Ivy, Gladys, then Caroline. My sister Gladys been born Wantili, Ivy born Georgia Bore (Pitarny), Caroline been born in Jigalong [Mission]. We walked around together [as we were] growing up.”

[As a child, Ngamaru walked around with her family, living a pujiman (traditional, desert dwelling) lifestyle. In 1963 Ngamaru saw a whitefella for the first time near Wiirnukurrujunu rockhole; surveyor Len Beadell grading a road across the desert as part of a military weapons testing program. Shortly after this meeting Ngamaru, along with the other 28 Martu she had been travelling with, was tracked and pursued up by the Native Welfare Department. The group was eventually persuaded to move to Jigalong mission to join their relatives that had already moved in from the desert.] 

“They been chase us, long way - me, Ivy, and Kuru (Gladys) ran away with Mitchell and Teddy Biljabu. Kumpaya, Bugai and my mother ran away quick too. Landrover he been pick us up for Parngurr, all the lot, [driving on the] track for Jigalong. Family all coming in. I been come for first time [it was my first time in a vehicle]. I was naked one, put a blanket for kurnta (shame). I been living there in Jigalong with my mummy and family. I been working in the dining hall, making bread for kid. I been meet my nyupa (spouse), Mr Booth, and had a son, Ned Booth.” 

 - Ngamaru Bidu

 

Ngamaru was born at Martilirri (Well 22 on the Canning Stock Route), the eldest of four siblings. Her mother came from the area around Wikirri and her father from Pitu. As a child Ngamaru lived a pujiman lifestyle, and walked around with her family, moving from water source to water source dependent on the seasonal rain cycles. They often travelled with their extended relatives, Bugai Whyoulter and Jakayu Biljabu’s families. 

When Ngamaru was a teenager, her family and their travelling companions were tracked by Native Patrol Officers and staff from the Jigalong Mission. The group was persuaded to move to Jigalong Mission, where they rejoined the many family members that had already moved in from the desert. At the mission, Ngamaru’s sister and some of the Biljabu family were sent to school, but Ngamaru went to work making bread. 

From Jigalong Ngamaru moved to Strelley Community, where she met her husband, Joshua Booth. Together with their children they later moved to Warralong and then Punmu Aboriginal Communities before settling in Parnngurr Aboriginal community (Cotton Creek), where Ngamaru continues to live today. 

Ngamaru has painted with Martumili since its inception in 2006. She has frequently painted with senior artists and relatives Mitutu Mabel Wakarta (dec.) and Kumpaya Girgaba. Ngamaru is known for the beautifully complex compositional structures and intricate patterning in her work, through which she very often explores the practice of fire burning in her Country and its related Martu cyclical seasonal changes. Ngamaru’s work has been exhibited in galleries internationally and throughout Australia, and acquired by the National Museum of Australia. She was selected in 2019 for the prestigious John Stringer Art Prize exhibition.

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