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Mindirr (Pandanus Bag)

Miṉḏirr (dilly bags) are made from gunga (Pandanus spiralis), baḻgurr (kurrajong) and natural bush dyes. The body of the miṉḏirr is made from gunga, and the handles from baḻgurr. Once the gunga fronds and baḻgurr bark have been collected, they are stripped and prepared then boiled with the dyes.

Miṉḏirr were used traditionally for every day utilitarian purposes, particularly collecting bush foods such as bäḻtji (yam). Traditionally, the baḻgurr handles were worn across the forehead while the body of the miṉḏirr sat at the back, between the shoulder blades making it easily accessible when collecting ŋatha (food).

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Dhawurr or Batjbarra (Fish Trap)

Dhawurr, or Batjbarra, is a traditional fishing method used by Indigenous people in the Arafura Swamp and surrounding wetlands of Arnhem Land. Yolŋu now prefer the modern fishing methods of reels and bait, however, weavers continue to make Batjbarra for cultural conservation and to be sold as decorative pieces.

When used for practical purposes, the Batjbarra was placed into the river with the opening facing oncoming fish. The woven tunnel trapped the fish with the weave tight enough to prevent escape but loose enough to allow water to freely flow through. The traps tapered so that when they were submerged, the water pressure wedged them into place.

The primary material used in this piece is the young, green leaves of the Pandanus spiralis tree, that were harvested using a long wooden hook. The leaves are stripped of their prickles, with the smaller fibres being dried to produce a strong, resilient material. These fibres are then twisted, coiled, or combined using various techniques to create the fish trap.

Bula’bula weavers exclusively use natural dyes, derived from locally sourced roots, leaves and grasses. These pigments are extracted and infused into pandanus fibres by boiling over an open fire, producing the rich, vibrant colours characteristic of contemporary Yolŋu weavings.

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Dhawurr or Batjbarra (Fish Trap)

Dhawurr, or Batjbarra, is a traditional fishing method used by Indigenous people in the Arafura Swamp and surrounding wetlands of Arnhem Land. Yolŋu now prefer the modern fishing methods of reels and bait, however, weavers continue to make Batjbarra for cultural conservation and to be sold as decorative pieces.

When used for practical purposes, the Batjbarra was placed into the river with the opening facing oncoming fish. The woven tunnel trapped the fish with the weave tight enough to prevent escape but loose enough to allow water to freely flow through. The traps tapered so that when they were submerged, the water pressure wedged them into place.

The primary material used in this piece is the young, green leaves of the Pandanus spiralis tree, that were harvested using a long wooden hook. The leaves are stripped of their prickles, with the smaller fibres being dried to produce a strong, resilient material. These fibres are then twisted, coiled, or combined using various techniques to create the fish trap.

Bula’bula weavers exclusively use natural dyes, derived from locally sourced roots, leaves and grasses. These pigments are extracted and infused into pandanus fibres by boiling over an open fire, producing the rich, vibrant colours characteristic of contemporary Yolŋu weavings.

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Djarrka (goanna)

Djarrka is a freshwater goanna that can be found in small inland creeks and feeds on small crabs and yabbies. People hunt this goanna for food and they can be very delicious to eat, like other meats you can find around and in the creek. Djarrka is a Dhuwa water goanna and it plays a big part in some ceremonies. In nearly all Liyagawumirr Dhuwa ceremony like Djungguwan, Ngulmarrk, and Liyagalawumirr Ngarra, Djarrka is represented. The ceremonies are very secret to both women and children and those not in this group and unconnected to Yolngu lifestyle and their beliefs. It is very taboo to speak about.

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“My ancestors lived in the Great Sandy Desert where they used to hunt, gather bush tucker and live for many, many years. During the time living in the desert, growing their kids up, watching family members passing by, it was their home (Ngurra) for generations. Hearing stories from my grandfather, especially the story of my grandmothers Country called Kiriwirri. Brings back memories of how she lived in her country, it’s like being a part of the journey when she walked and lived.

Now I’m painting about my generation and my Country. Through my art it gives me connection and belonging. Stories go a long way, when we talk even just sitting around the fire listening to our elders, it’s a big step for our generation in this time. To carry on that tradition and story and culture – pass it to the next generation.

Painting is like a door to a new world or new language. Most of the world don’t know where Martu people come from and live. Painting guides people to learn about Martu.  I love painting that’s my passion and also telling stories… it helps me connect to where my grandmother was born and lived. I paint bush fires, burning (waru), new growth and also, boundaries.

All Martu people have boundaries in their Country, so that they can know that this is my area, my part of my Country and share with others so they can understand and know where people came from.

In the Great Sandy Desert there is a lot of boundaries and knowing about the boundaries means you will feel that you are connected to that ngurra. Boundaries are important to Martu people so they can relate to each family tribe. It’s important to know.”

Derrick Butt, 2024

Kiriwirri is a soak located in the Percival Lakes region of Western Australia’s Great Sandy Desert. The site was a popular camping area during the pujiman (traditional, desert dwelling) era due to its reliable water source and the abundance of minyarra (bush onion) found in the area. Kiriwirri is also a site visited by the Wati Kujarra (Two Goanna Men), ancestral beings responsible for the creation of many land features in Martu Country and beyond in a key Jukurrpa (Dreaming) narrative. The Wati Kujarra existed as half men, half goanna who travelled, hunted, and burned Country together.

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, knowledge of water sources was critical for survival, and today Martu Country is still defined in terms of the location and type of water. Each of the hundreds of claypans, rockholes, waterholes, soaks and springs found in the Martu desert homelands is known by name, location, quality and seasonal availability through real life experience and the recounting of Jukurrpa narratives. 

Soaks, or soakwaters, derive their name from the manner in which their waters generally seep into the sand from below stores, sometimes as part of an ephemeral river or creek. Soaks were an especially important source of water during the pujiman era, being the most dependable water source in times of drought. Water was obtained from soaks by scooping away the sand with a piti (timber bowls used for carrying food and water) until clear water gathered at the base of the hole, sometimes at a depth of several metres. 

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Multju – Nora’s family’s country

Nora begins her stories with simple lines, drawn on paper, canvas, or etched into the red earth, gradually transforming into rich visual narratives of her homeland, Multju. This area, marked by significant rock-holes. where she was born is  Mulga country and a great place to find Honey Ants. There is a story of a mother and her two children successfully finding these ants, savouring the sweet rewards of their efforts. Through vibrant colours and intricate details, Nora’s art celebrates this story.

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Yindili (Kingfisher)

The Kingfisher, known as Yindili in Kuku Yalanji language, is according to our culture one of the significant messenger birds.  The Kingfisher will let us know when to expect a visit from families living in another community, And when we see a Kingfisher close by, we know that something good will soon happen in our personal life.

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Kurranji (Cassowary)

The cassowary is one of the most important animals for our Kuku Yalanji people. The cassowary is the boss of the rainforest. He is dangerous but he also helps grow many of the plants we used to collect for food, medicine and tool making.

How does he do this? He eats many different fruits, digests them in his stomach, and then drops his dung mixed with the leftover seeds onto the ground. This way seeds grow into new plants wherever he walks. This helped us Kuku Yalanji in the past to survive.

The cassowary is a spirit bird and celebrated to this day in public ceremonies with song and dance. You must be very careful of them because they can attack. Never feed them. You must always be alert when walking in the rainforest.

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Diwan (Scrub Turkey)

Diwan are bush food – an important source of meat. We also eat the eggs. They are a delicacy. The male bird looks after the nest and will not go far, as he has to protect the nest from bush goanna’s. If they come around, he will send out an alarm call to other Diwan to alert therm. The nesting time for Diwan is September to December. The bush goanna knows when the eggs will be ready to hatch. When the goannas start hanging around, this is a good sign that the eggs are ready. We dig for eggs with digging sticks or by hand. The nest is very deep and when you can feel the warmth with your hands, you know that the eggs are close-by. The eggs are very good for health and make you strong.