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Kungkarangkalpa

Seven Sisters’ travels of Central Australia. Wati Nyiru is a lust-filled shape shifting man who seeks to seduce the Seven Sisters and take them as his wives. But he is an untrustworthy tricky man and all the sisters are deeply afraid of him. They travel across the country locked in a battle of wits. Wati Nyiru is smart, but so is the eldest Sister. They each have their stories, their songs, and their dances. Each knows how to read the country they move through, their bush tucker, their Law.  The Sisters flee with Wati Nyiru in perpetual pursuit. Wati Nyiru is a master of disguise and uses magic to try to trick the sisters, transforming into highly valued food: the most tempting Bush tomatoes, and the most beautiful Ili (Wild Fig) tree and delicious Wayanu (Quandong tree). The sisters pluck the fruit, but when they taste it they realise that it Nyiru tricking them again. They forever travel through sand hill country hoping they have left him behind. However, Wati Nyiru uses his shape shifting so he is ahead of them, anticipating his next opportunity to seduce and steal one of the younger sisters away.

Eventually, so desperate to escape him, the Sisters transform into fire and flee into the Milky Way, where they are the Constellation Pleiades, now safely watching over all the women on earth. Wati-Nyiru follows them north, the lone star Orion, still pursuing, but unable to harm the Kungkarrakalpa. You will find them in the night sky, a small cluster of seven stars next to the Milky Way and Nyiru is the Morning Star that gets up early each morning to look for them. The Kungkarrakalpa Tjukurrpa creates links between all Australian women’s secret knowledge and Law about sacred places, knowledge about hunting and bush tucker species, and about creating and using various Punu [wooden artefacts]. The Minyma [mature women] often sing and dance the section of the Inma cycle specific to the Tjukurrpa of the place where they camp. When they meet other women at ceremony they paint ritualised patterns on their bodies with ochres and perform the epic Inma cycles [ceremonial song and dance] associated with these Tjukurrpa, each group holding a different section of the long and complex narrative.

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Wardapi Jukurrpa

‘This painting is about the way women hunt Wardapi – that sand goanna. He digs holes in the dunes, makes his nest deep inside. Many of the holes all join up. Women hunt Wardapi in the dunes by digging out the holes. Sometimes cover one, and Wardapi runs out other one. Need to hunt him together. Find all the holes. Dig them at the same time. Someone going to get him that way.’

The Wardapi Jukurrpa [Varanus Gouldii Goanna] belongs to the Spencer Sisters. It comes from Yarripilangku [aka Yinyiripalangu], south-west of Yuendumu. A group of Warlpiri Karnta [women] are sitting down in a circle when a Japangardi Wati [man] from Puturlu [Mt Theo], called Wamaru came upon them. He wants to take one of them, named Yurlkurinyi, of Nungarrayi skin, which is the wrong skin for him. He takes the Nungarrayi woman up a hill, where they make love. In response, the earth on top of the hill turns to Ngunjungunju [white ochre], and yellow and red ochre. The yellow is for Karnta and the red for Wati. The ochre is used by Warlpiri people for love magic and ceremonial decoration. The Wati turns all the Karnta and himself into Wardapi, aka Varanus Gouldii goannas. This Jukurrpa belongs to the Napaljarri/Japaljarri and Nungarrayi /Jungarrayi subsections, and the Japanangka/Napanangka, Japangardi/Napangardi subsections of Puturlu. The women are often represented by ‘U’ shapes. Concentric circles may illustrate Wardapi holes, or their droppings left behind them, and Wardapi tracks are usually represented by ‘W’ shapes and wavy lines.

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Women Collecting Bush Food

Women talking about collecting bush food – where the best places are and the best times, whether seasonal or dependent on rain events – All the women sit with their digging sticks and piti’s [coolamons] around the hearth to talk about these aspects of collecting bush food.

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Joyrene Ngwarraye Holmes – Wildflowers

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.

 

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Rita Pitjara Beasley – My Father’s Country

“This is my Father’s country.

This place is our hunting place. I always go with my daughters and their children, I show them this place and teach them about the swampy country. We hunt for goannas, bush potato, bush tomato and after the big rain the bush medicine is picked and the roots are dug up to be used.

It is important as my mother taught me this and now I teach my family.”

The community of Ampilatwatja made a conscious decision not to paint altyerr (dreaming stories). The artists paint their country where those stories sit.

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Anapalaku Walka – Ernabella Design

The well-known Anapalaku Walka evolved out of the very first drawings that children made in the Ernabella mission school in the 1940s. The children would often come to the Ernabella craft room (the precursor to today’s art centre) in the afternoon or during school holidays, making their doodles and designs that were the inspiration for the artists who then used this motif on various craft media. The designs are based on flowers, leaves and the rich colourful arid landscape of the Aṉangu Pitjantjatjara Yankunytjatjara (APY) Lands. The young girls grew older and many of them joined the art centre where they developed these designs into a distinctive artistic style. The Anapalaku Walka has been used by Ernabella artists for more than 75 years on floor rugs, batik, paintings and ceramics.

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Ganybu (Fishing Net/Drag Net)

This is a story from the old times, about how Yolngu ancestors used to live.  Here the men are in the Arafura Swamp, catching the fish with a drag net, through the flooded plains and into the fish trap.

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Lulu Pitjara Teece – Lizards Hiding in the Flowers

The lizards we see them hiding under the flowers waiting to catch the insects. The lizards are geckos that are pale with long tails, they live in a hole that they sleep in overnight and wait until the day to catch the insects which are ants and butterflies. They catch the the insects with their long tongues.

They have poison spray on their tails, they sprayed me once. We don’t catch and eat them because they are poison. They come out in spring when the flowers they hide underneath bloom.

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Beverly Pula Luck – My Mother’s Country

Beverly paints her Mother’s country. When Beverly was a child her mother took her all around her country and showed her the bush medicine and bush tucker.

The knowledge of the bush plants has been handed down through generation to generation and Beverly still spends time hunting and collecting bush medicine plants to use in everyday life.  Taught by her mother and grand mother, Beverly also sings the songs of the bush medicine plants. 

Beverly’s paintings are joyous and full of information regarding bush medicine plants.

The artists of Ampilatwatja made a conscious decision not to paint altyerr (dreaming stories). The artists paint their country where those stories sit.

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Jessie Pula Luck – My Bush Medicine Plants

I was born in Irrultja, my father’s country. I paint therrpeyt, a plant with red and pink flowers, it is my family symbol. You can suck the flowers to get a sweet honey from. You can wash your body with the leaves to heal sores and clean your body. I paint arreth which grows in the rocky ground and helps fix my sore throat when I make a hot tea from the leaves. I love to paint, I feel happy when I paint, I feel busy and good.