CompNet Systems

Bush Tucker

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.

Marlu (kangaroo)

Marlu (kangaroo) are one of the largest species that form part of the Martu diet, and are typically hunted by men on specific trips targeting major game. Marlu are prized not only for the high yield of meat which they represent, but also for the level of skill and stamina required to hunt them. When hunted, marlu are typically directed via fire and then tracked for a lengthy period of up to several hours. Effective hunting also relies on one’s knowledge of seasonal conditions and preferred foods and habitats. Traditionally, marlu were stalked and then speared. Today, marlu are generally hunted with rifles at the beginning of yalijarra (hot season), before the rains. 

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. 

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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.

Lungkurta (blue tongue lizard)

Lungkurta (blue tongue lizard) are a species of short bodied, slender tailed skink, striped grey and orange with a distinctive blue tongue. Lungkurta are found throughout Australia in dry, sandy and stony areas. They hibernate in the cool months, emerging seasonally as temperatures warm in tuulparra (spring). Once dug from their burrows, lungkurta are usually seized by their tails as a way of preventing them from inflicting scratches or gashes. Traditional carved wana (digging-sticks) used to dig burrows have been replaced with metal bars, though burning and tracking techniques continue to be practiced in the hunting of lungkurta.  Targeted waru (fire) clears vegetation and exposes burrows, whilst simultaneously providing diverse regenerating habitats for future lungkurta. When consumed, they are singed and then cooked in a coal and ash bed. 

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.

Tali – Sand dunes, Kulyakartu

“The sand dunes play important roles in our Martu culture, especially in most parts of the desert regions. Tali (sandhills) are sometimes boundaries, travel pathways, and act as wind breaks in windy seasons for Martu. I have been guided by my elders, Muuki, Nola, and Wokka Taylor in what to paint and what not to paint. And as young adults we paint seasons, some rockholes and sand dunes, some animals too. This painting are the Tali, at Kulyakartu.” 

– Nuriah Jadai

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.

The Martu term for family, walytja, encapsulates a broader idea of relatedness that permeates every aspect of life. The Martu four-section kinship system determines a person as belonging to either the Purungu, Milangka, Panaka or Karrimarra skin group, and was created by the Jukurrpa (Dreaming) ancestors.

The significance of walytja is revealed in Martu art not only in its depiction of ngurra as delineated by ancestral inheritance, but also through the act of painting itself. Martumili artists begin to paint with their parents, grandparents and extended family, fostering an organic process of learning about painting techniques, along with knowledge of specific locations and their related Jukurrpa narratives. In this way, the passing down of cultural knowledge through art ensures the continuity of Martu heritage.

Tali – Sand dunes, Kulyakartu

“The sand dunes play important roles in our Martu culture, especially in most parts of the desert regions. Tali (sandhills) are sometimes boundaries, travel pathways, and act as wind breaks in windy seasons for Martu. I have been guided by my elders, Muuki, Nola, and Wokka Taylor in what to paint and what not to paint. And as young adults we paint seasons, some rockholes and sand dunes, some animals too. This painting are the Tali, at Kulyakartu.” 

– Nuriah Jadai

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.

The Martu term for family, walytja, encapsulates a broader idea of relatedness that permeates every aspect of life. The Martu four-section kinship system determines a person as belonging to either the Purungu, Milangka, Panaka or Karrimarra skin group, and was created by the Jukurrpa (Dreaming) ancestors.

The significance of walytja is revealed in Martu art not only in its depiction of ngurra as delineated by ancestral inheritance, but also through the act of painting itself. Martumili artists begin to paint with their parents, grandparents and extended family, fostering an organic process of learning about painting techniques, along with knowledge of specific locations and their related Jukurrpa narratives. In this way, the passing down of cultural knowledge through art ensures the continuity of Martu heritage.

Wanti Yuu (Women, Yeah!)

“Wanti Yuu (Woman Yeah!) is a story of resilience and of women coming together. It is about the strength of the women in our community who put themselves last and take on a lot. She [Wanti Yuu] is someone who looks after her family, putting the grand kids and everyone around her first. The word Matriarch comes to mind. They are the matriarch of the family. The Boss Lady. Always helping everyone else out and leaving herself to the end. She paints, she teaches us her knowledge, like basket weaving and honey ant collecting. She is the top lore woman and her story of Pujiman (traditional, desert dwelling) is so important. She is a leader of the Martu women and a senior artist. That’s all I can say about these women. These women; you give her the bread if you know what I mean. It’s a true story. Anything in my pockets. Because when you look at her, her stance, her energy and her vibe, you can feel it. You don’t muck around with Wanti Yuu.”

-Silvia Wilson

Wanti Yuu celebrates women’s resilience, matriarchal relationships, and Sylvia’s place in this story.

As Sylvia explains, the work is both a depiction of, and attribute to, the women in her life. “I follow my great grandmother’s guidance and direction in life. These women in my life carry so much on their shoulders, as well as the responsibility and future of our culture.”

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“When Martu paint, it’s like a map. Martu draw story on the ground and on the canvas, and all the circle and line there are the hunting areas and different waters and tracks where people used to walk, and [some you] can’t cross, like boundaries. So nowadays you see a colourful painting and wonder what it is, but that’s how Martu tell story long ago. It’s not just a lovely painting, it’s a story and a songline and a history and everything that goes with it.” 

– Ngalangka Nola Taylor and Joshua Booth

This work portrays an area of Country that can be interpreted in multiple ways. Firstly, the image may be read as an aerial representation of a particular location known to the artist- either land that they or their family travelled, from the pujiman (traditional, desert dwelling) era to now. During the pujiman 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. At this time, one’s survival depended on their intimate knowledge of the location of resources; thus physical elements of Country, such as sources of kapi (water), tali (sandhills), different varieties of warta (trees, vegetation), ngarrini (camps), and jina (tracks) are typically recorded with the use of a use of a system of iconographic forms universally shared across the desert. 

An additional layer of meaning in the work relates to more intangible concepts; life cycles based around kalyu (rain, water) and waru (fire) are also often evident. A thousands of year old practice, fire burning continues to be carried out as both an aid for hunting and a means of land management today. As the Martu travelled and hunted they would burn tracts of land, ensuring plant and animal biodiversity and reducing the risk of unmanageable, spontaneous bush fires. The patchwork nature of regrowth is evident in many landscape works, with each of the five distinctive phases of fire burning visually described with respect to the cycle of burning and regrowth.  

Finally, metaphysical information relating to a location may also be recorded; Jukurrpa (Dreaming) narratives chronicle the creation of physical landmarks, and can be referenced through depictions of ceremonial sites, songlines, and markers left in the land. Very often, however, information relating to Jukurrpa is censored by omission, or alternatively painted over with dotted patterns.