Shire of East Pilbara (Martumili Artists)

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Waru Waru

“This is the waru-waru, the yukarri warta (green shoots and young plants). After the waru (fire) the mirrka (bush tucker) grows up. After the burning. you get all the animals coming to that place ”

Martu artists paint Country in all it’s different seasonal stages. Important to Martu, and to Martu Country, is the practice of waru (fire burning); a practice that assists with hunting, regenerates growth, and encourages greater diversity in plant and animal life. When Martu Country burns, mosaic fire scars are left on the Country, and patches of regeneration form a kind of mosaic pattern across the land. This is called nyurnma – burnt Country.  Waru is typically burnt in small, controlled areas, leaving a defined patchwork pattern of nyurnma in the land, across tali (sand hills), linyji (clay pans), parulyukurru (spinifex country) and pila (sandy plains). This patterning is clearly visible in Ngamaru’s works, where she paints fire from an aerial perspective.

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Rabbit Proof Fence

“When I was a little girl, my sister and I would visit our nanna [Molly Craig]. We really looked after her and checked if she had any food and sometimes she would say ” I’m hungry one.” We would race home to make damper and cook some meat and take it back to her before it got dark. She was a caring and beautiful lady but she never told her story about what happened when she was young because my sister and I were part of welfare. That’s why my sister and I had a great connection with our nanna, an unspoken connection.”

– Kathleen Sorenson

In 1931 sisters Molly Craig, Daisy Kadibil and Gracie Fields were taken from their families, like many other Aboriginal children at that time, and transported to Moore River Native Settlement, north of Perth. They were taken away in the belief that part-Aboriginal children should be trained as domestic servants. 

The three girls escaped the next day and, incredibly, walked 1600 kilometres home to Jigalong using the Rabbit-Proof Fence to navigate. The Rabbit Proof Fence remains the world’s longest fence, and was built in the early 1900s to separate rabbits from pasture. For nine weeks, the girls followed its length in order to be reunited with their family. They crossed a flooded river, sand dunes, heathlands, wheatbelts and plains, claypans and salt lakes. They slept in dug-out rabbit burrows, and caught and cooked rabbits, along with other plant based bush tucker. For the duration of their journey they were pursued by policeman and an Aboriginal police tracker.

The girls’ story has been immortalised in the novel “Follow the Rabbit-Proof Fence” by Doris Pilkington (Nugi Garimara, 1996), and was adapted into the film “Rabbit Proof Fence” (2002). This story retains special significance for the Martu, and in particular those inhabitants of Jigalong Aboriginal community. The three girls were Martu, and their children and grandchildren continue to live in the Martu homelands today.

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Rabbit Proof Fence

“When I was a little girl, my sister and I would visit our nanna [Molly Craig]. We really looked after her and checked if she had any food and sometimes she would say ” I’m hungry one.” We would race home to make damper and cook some meat and take it back to her before it got dark. She was a caring and beautiful lady but she never told her story about what happened when she was young because my sister and I were part of welfare. That’s why my sister and I had a great connection with our nanna, an unspoken connection.”

– Kathleen Sorenson

In 1931 sisters Molly Craig, Daisy Kadibil and Gracie Fields were taken from their families, like many other Aboriginal children at that time, and transported to Moore River Native Settlement, north of Perth. They were taken away in the belief that part-Aboriginal children should be trained as domestic servants. 

The three girls escaped the next day and, incredibly, walked 1600 kilometres home to Jigalong using the Rabbit-Proof Fence to navigate. The Rabbit Proof Fence remains the world’s longest fence, and was built in the early 1900s to separate rabbits from pasture. For nine weeks, the girls followed its length in order to be reunited with their family. They crossed a flooded river, sand dunes, heathlands, wheatbelts and plains, claypans and salt lakes. They slept in dug-out rabbit burrows, and caught and cooked rabbits, along with other plant based bush tucker. For the duration of their journey they were pursued by policeman and an Aboriginal police tracker.

The girls’ story has been immortalised in the novel “Follow the Rabbit-Proof Fence” by Doris Pilkington (Nugi Garimara, 1996), and was adapted into the film “Rabbit Proof Fence” (2002). This story retains special significance for the Martu, and in particular those inhabitants of Jigalong Aboriginal community. The three girls were Martu, and their children and grandchildren continue to live in the Martu homelands today.

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Rabbit Proof Fence

“When I was a little girl, my sister and I would visit our nanna [Molly Craig]. We really looked after her and checked if she had any food and sometimes she would say ” I’m hungry one.” We would race home to make damper and cook some meat and take it back to her before it got dark. She was a caring and beautiful lady but she never told her story about what happened when she was young because my sister and I were part of welfare. That’s why my sister and I had a great connection with our nanna, an unspoken connection.”

– Kathleen Sorenson

In 1931 sisters Molly Craig, Daisy Kadibil and Gracie Fields were taken from their families, like many other Aboriginal children at that time, and transported to Moore River Native Settlement, north of Perth. They were taken away in the belief that part-Aboriginal children should be trained as domestic servants. 

The three girls escaped the next day and, incredibly, walked 1600 kilometres home to Jigalong using the Rabbit-Proof Fence to navigate. The Rabbit Proof Fence remains the world’s longest fence, and was built in the early 1900s to separate rabbits from pasture. For nine weeks, the girls followed its length in order to be reunited with their family. They crossed a flooded river, sand dunes, heathlands, wheatbelts and plains, claypans and salt lakes. They slept in dug-out rabbit burrows, and caught and cooked rabbits, along with other plant based bush tucker. For the duration of their journey they were pursued by policeman and an Aboriginal police tracker.

The girls’ story has been immortalised in the novel “Follow the Rabbit-Proof Fence” by Doris Pilkington (Nugi Garimara, 1996), and was adapted into the film “Rabbit Proof Fence” (2002). This story retains special significance for the Martu, and in particular those inhabitants of Jigalong Aboriginal community. The three girls were Martu, and their children and grandchildren continue to live in the Martu homelands today.

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Rabbit Proof Fence

“When I was a little girl, my sister and I would visit our nanna [Molly Craig]. We really looked after her and checked if she had any food and sometimes she would say ” I’m hungry one.” We would race home to make damper and cook some meat and take it back to her before it got dark. She was a caring and beautiful lady but she never told her story about what happened when she was young because my sister and I were part of welfare. That’s why my sister and I had a great connection with our nanna, an unspoken connection.”

– Kathleen Sorenson

In 1931 sisters Molly Craig, Daisy Kadibil and Gracie Fields were taken from their families, like many other Aboriginal children at that time, and transported to Moore River Native Settlement, north of Perth. They were taken away in the belief that part-Aboriginal children should be trained as domestic servants. 

The three girls escaped the next day and, incredibly, walked 1600 kilometres home to Jigalong using the Rabbit-Proof Fence to navigate. The Rabbit Proof Fence remains the world’s longest fence, and was built in the early 1900s to separate rabbits from pasture. For nine weeks, the girls followed its length in order to be reunited with their family. They crossed a flooded river, sand dunes, heathlands, wheatbelts and plains, claypans and salt lakes. They slept in dug-out rabbit burrows, and caught and cooked rabbits, along with other plant based bush tucker. For the duration of their journey they were pursued by policeman and an Aboriginal police tracker.

The girls’ story has been immortalised in the novel “Follow the Rabbit-Proof Fence” by Doris Pilkington (Nugi Garimara, 1996), and was adapted into the film “Rabbit Proof Fence” (2002). This story retains special significance for the Martu, and in particular those inhabitants of Jigalong Aboriginal community. The three girls were Martu, and their children and grandchildren continue to live in the Martu homelands today.

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Rabbit Proof Fence

“When I was a little girl, my sister and I would visit our nanna [Molly Craig]. We really looked after her and checked if she had any food and sometimes she would say ” I’m hungry one.” We would race home to make damper and cook some meat and take it back to her before it got dark. She was a caring and beautiful lady but she never told her story about what happened when she was young because my sister and I were part of welfare. That’s why my sister and I had a great connection with our nanna, an unspoken connection.”

– Kathleen Sorenson

In 1931 sisters Molly Craig, Daisy Kadibil and Gracie Fields were taken from their families, like many other Aboriginal children at that time, and transported to Moore River Native Settlement, north of Perth. They were taken away in the belief that part-Aboriginal children should be trained as domestic servants. 

The three girls escaped the next day and, incredibly, walked 1600 kilometres home to Jigalong using the Rabbit-Proof Fence to navigate. The Rabbit Proof Fence remains the world’s longest fence, and was built in the early 1900s to separate rabbits from pasture. For nine weeks, the girls followed its length in order to be reunited with their family. They crossed a flooded river, sand dunes, heathlands, wheatbelts and plains, claypans and salt lakes. They slept in dug-out rabbit burrows, and caught and cooked rabbits, along with other plant based bush tucker. For the duration of their journey they were pursued by policeman and an Aboriginal police tracker.

The girls’ story has been immortalised in the novel “Follow the Rabbit-Proof Fence” by Doris Pilkington (Nugi Garimara, 1996), and was adapted into the film “Rabbit Proof Fence” (2002). This story retains special significance for the Martu, and in particular those inhabitants of Jigalong Aboriginal community. The three girls were Martu, and their children and grandchildren continue to live in the Martu homelands today.

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Luka

“Luka is my home, my mummy and grandmother and father’s Country, all the families’ Country. This place is near the same place I was born. There’s pussy cat, dingo and fox all around. That jila (snake) there inside, always water there”

– Ngarga Thelma Judson

Luka is a yinta (permanent waterhole) located kayili (north) of the Percival Lakes region in Western Australia’s Great Sandy Desert. Luka forms part of Ngarga’s ngurra (home Country, camp), and lies just west of the site where she was born.

Luka is home to an ancestral rainmaking jila (snake) of the same name. The Western Desert term jila is used interchangeably to describe springs considered to be ‘living’ waters and snakes, both of which play a central role in Martu culture and Jukurrpa (Dreaming). Of the many permanent springs in Martu Country, very few are ‘living waters’; waters inhabited by jila. Before they became snakes, these beings were men who made rain, formed the land and introduced cultural practices like ceremonies and ritual songs. Some of the men travelled the desert together, visiting one another, but they all ended their journeys at their chosen spring alone, transformed into a snake. These important springs are named after their jila inhabitant, guarding their waters.

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. 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.

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Untitled

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.

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Untitled

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.

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Spinifex

“When I went back to County, I thought how beautiful the spinifex was. How the sun glazed against the spinifex. The County that I speak of is Jilukurru, my grandfather’s country.”

– Kathleen Maree Sorenson

Martu Country is dominated by striking permanent tali (sandhills) covered with spinifex, gums, and other trees and shrubs. Spinifex is a pale green, spiky grass that grows in clumps throughout the Central and Western Deserts of Australia. Some varieties yield edible seeds and another contains a resin.