111581636008



Kulyakartu

“My Country, Kulyakartu. I grew up there, from little boy to big boy grew up there.”

 – Muuki Taylor

This painting depicts Kulyakartu, Muuki’s ngurra (home Country, camp). Kulyakartu is located in the far north of the Martu homelands, near the Percival Lakes region of Western Australia’s Great Sandy Desert. Muuki has extensive knowledge of the Country in this region, where he grew up living traditionally during the pujiman (traditional, desert dwelling) days with his family. Kulyakartu is mostly grass Country where there is very good hunting. In particular parnajarrpa (goanna), wild cats, and lunki (witchetty grub) are found in abundance here. There is no permanent water source in Kulyakartu, so Muuki’s family would walk here annually following the wantajarra (wet season). During the yalijarra (hot, dry season) they would head south again to more permanent water.

Muuki paints Kulyakartu in all its different seasonal stages. Often visible in his work is the patchwork nature of regrowth subsequent to the practice of waru (fire) burning that assists with hunting, regenerates growth, and encourages greater diversity in plant and animal life. This mosaic patterning is aligned with the five distinct Martu cyclical phases of burning and regrowth. First is nyurnma (freshly burnt Country) when Muuki is “making waru”. Following nyurnma are the rains and subsequent waru-waru, when young, bright green plants start to grow. Nyukura occurs between one and three years after burning, when plants have matured and are fruiting and seeding. Manguu is “when him finished”, four to six years post burning, and when spinifex has matured to the point that it can be burned once again. Finally, kunarka signifies the time when spinifex and other plant species have become old growth, and pose a risk of destructive bushfires.

111581839280



Jila (snake, living water)

“All the jila (snakes) making the Country. Good Country, flash one! Like people, jila, when they get old, they die. Can’t help it. Like Martu die, he dead. No more life.”

– Yunkurra Billy Atkins

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).

During the pujiman (traditional, desert dwelling) period, knowledge of water sources was critical for survival, and today Martu Country is still defined in terms of the location of water sources. Of the many permanent springs in Martu Country, very few are ‘living waters’; waters inhabited by jila (powerful ancestral beings). 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. 

Some of the jila snakes are known by Martu as quiet and benevolent, others as dangerous and ‘cheeky’. Regardless of the nature of the inhabitant snake, jila sites must be entered respectfully; particular rituals are practiced, such as lighting fires, sweeping the ground with branches, approaching in single file, and calling out to the site’s jila to announce one’s arrival and introduce people who are new to the jila. Those who do not follow these guidelines are in danger of becoming sick, or even being killed.   

111581908963



Kumpupirntily (Kumpupintily, Lake Disappointment)

“Ngayurnangalku [were] fighting, coming in from everywhere. They all come in here [at Kumpupirntily], all meet up here. Ngayurnangalku travelled through this Country going to Kumpupirntily. They made that Country. That Country got everything- parngarra (goanna), karlaya (emu), dog, kangaroo, all there. And Ngayurnangalku… they’re there too. 

[Now the] Ngayurnangalku cannibal [live] in a lake, Kumpupirntily. They live in the lake, in the salt lake, that mob. They belong to there. They been born there, they living there, sleeping there. Big mob! That’s his [their] Country, Kumpupirntily. This one the Ngayurnangalku camp, they all there. They got their own city underground. Nobody ever know. Just like a store, you can lock him up. They got a big room, have a rest. Underground, not far. All the man, women, little kids, they all stopping there, and the mummy Ngayurnangalku, big mummy. All those little babies are his [hers]. There’s a hill there. They been walk all along here, they been get inside, that’s their hole over there. They all come and get in there. They got plenty jara (shield), yirrkili (boomerang), they property for the Ngayurnangalku, they maparn (holding power for sorcery). They hit you and kill you. He got to feed. Ngayurnangalku chuck away their jara and yirrkili when they go home. Pujurrpa (red ochre) there – that for Ngayurnangalku, make himself red, when he dance. 

They chuck them [boomerangs] in the afternoon. Before the wind. If it’s a wind blowing, no good, they all go in, in that rock (hill). Parla-parla (type of lizard) is Ngayurnangalku mate. He’s for Kumpupirntily that one. That’s for Ngayurnangalku. When you see that lizard come out, like this (making a smacking sound with its mouth) you gotta get away, you gotta go long way. Don’t come desert. Don’t stop, Ngayurnangalku be get up. Parla-parla make him get up this mob, you gotta go away, run away.”

Ngayurnangalku still there [in Kumpupirntily]. They’re still alive. They walking in the night, they got to feed. They all staying there- don’t go there! You’ll lose your life. We’ll be dead, he’ll be alive. No people gotta go come to this place. If they go there it’s one way! There’s a cannibal there. Don’t come to this place- you might get killed! They gonna eat you for lunch! Don’t go, keep away! I been block him, tell all the miners to keep away. Cannibal gonna come out of the lake, kill you, knock you on the head and have a feed. If they dig him up, anybody, blackfella, whitefella, they’ll get killed! They’ll have a good feed!”

My grandfather went to Lake Disappointment chasing the dingo and he heard an old woman making a noise like howling, but she was crying for that dingo that my grandfather was spearing and chasing. So that woman grabbed his arm and put her long sharp fingernail through his wrist and paralysed him. She put her fingernail right through his wrist. Then that cannibal took him to a group of other cannibals, ready to cook him up to eat. They took him and had him there and they were singing him first. My grandfather is a strong maparn (magic) man. Lucky for him. He got out of there, because of his strength as a maparn.” 

 – Yunkurra Billy Atkins

Yunkurra’s Country encompasses one of the most important and dangerous sites in the Western Desert; Kumpupirntily (Kumpupintily, Lake Disappointment), home to the Ngayurnangalku (cannibal beings). Kumpupirntily, the Ngayurnangalku, and their associated Jukurrpa (Dreaming) form the subject for the majority of Yunkurra’s copious body of work.

Kumpupirntily is a stark, flat and unforgiving expanse of blinding salt lake surrounded by sand hills, located in the Little Sandy and Gibson Desert of Western Australia; “that Country hasn’t got any trees, it’s just open and flat” (Yunkurra Billy Atkins). Kumpupirntily translates to ‘bladder burst’; the lake was formed when the bladder of the Jila Kujarra (Two Snakes) burst here. Jila Kujarra is one of the key Jukurrpa narratives for the Martu. Though the story belongs to Warnman people, it is shared across the Western Desert with several other language groups. The narrative centres on the travels of two snakes as they are pursued by the Niminjarra, spiritual ancestors of the Warnman people. 

Later in the Jukurrpa period the Ngayurnangalku (ancestral cannibal beings) made Kumpupirntily their home, where they continue to remain today. For this reason Kumpupirntily is considered one of the most sacred and dangerous sites of the Western Desert. The Ngayurnangalku are fearsome ancestral cannibal beings said to resemble people in their appearance, except for their fangs and long curved knife like fingernails they use to catch and hold their human victims. Coming from Natawalu (Canning Stock Route Well 40) in the north, Mundiwinti (Mundawindi) in the west, and from the Country around Kiwirrkurra in the east, the Ngayurnangalku travelled across the desert, stopping near Puntawarri, at Jilukurru (Killagurra Springs, Canning Stock Route Well 17) and at Kupayura (Savory Creek) before finally reaching Kumpupirntily.

At Kumpupirntily, the Ngayurnangalku had a meeting to debate whether or not they would continue to live as cannibals, and eventually came to the decision to stop eating people. That night, a female baby cannibal was born. Following protocol, the baby also had to be consulted by the group. She determined that the Ngayurnangalku should continue to eat people. Her decision divided the group, and from this point the group from the east continued to live as ‘bad’ cannibals at Kumpupirntily, while the group from the west became ‘good’, thereafter consuming only animals. The ‘good’ Ngayurnangalku are kept safe by Nganyangu men, ‘bodyguards’ who formed a sandhill in the middle of the lake. The Nganyangu also help to protect people from the cannibal Ngayurnangalku, providing a safe path of passage through Kumpupirntily. 

The cannibal Ngayurnangalku continue to live beneath the crust of Kumpupirntily lake in an underground world lit by their own sun. They surface only to feed on human flesh, coming in and out of the world we see through a small hill that acts as a gateway between worlds; Yapu Maparnpa (magical hill). Stored with the Ngayurnangalku in their underground world is an arsenal of maparnpa (holding power for sorcery) weapons. Along with these weapons are deposits of pujurrpa that the Ngayurnangalku use to paint themselves with when they dance.

Several phenomena at Kumpupirntily act as a warning of the imminent appearance of the Ngayurnangalku; still skies, wilany (boomerang-shaped clouds), and the emergence of the parla-parla (type of lizard), smacking their mouths. The vigilance of the Martu as they travel in the Country around Kumpupirntily is so great that several other precautions are followed; fires are not lit, planes and helicopters are not flown directly over the area, and digging in the lake is strongly discouraged. All of these activities are believed to disturb the Ngayurnangalku, causing them to rise from their underground world. 

111581908955



Untitled

This is Yunkurra’s Country- his ‘ngurra’ (home Country, camp). People identify with their ngurra in terms of specific rights and responsibilities, and the possession of intimate knowledge of the physical and cultural properties of one’s Country. Painting ngurra, and in so doing sharing the Jukurrpa (Dreaming) stories and physical characteristics of that place, has today become an important means of cultural maintenance. 

Yunkurra’s ngurra encompasses his birthplace, Palatji (Palarji, Weld Springs, Canning Stock Route Well 9), and the Country that he and his family walked in the pujiman (traditional, desert-dwelling) era. Yunkurra grew up, walked and hunted primarily around the areas surrounding Kumpupirntily (Lake Disappointment), Kupayura (Savory Creek) and Jilukurru (Killagurra Springs, Canning Stock Route Well 17). Eventually, as a ‘young fella’ he, like most other Martu at the time, began working on pastoral stations around the Pilbara, ‘mustering bullock, sheep too.’ In later life Yunkurra relocated to Jigalong Aboriginal community, closer to his home Country. 

Portrayed in this work are features of Yunkurra’s ngurra, such as the striking salt lakes, dominant permanent red tali (sandhills), warta (trees, vegetation), and the individually named water sources he and his family camped at. Rock holes, waterholes, soaks and springs were all extremely important sites for Martu people during the pujiman period, and are generally depicted with circular forms. 

The encyclopaedic knowledge of the location, quality and seasonal availability of the hundreds of water bodies found in one’s Country sustained Martu as they travelled across their Country, hunting and gathering, visiting family, and fulfilling ceremonial obligations. They would traverse very large distances annually, visiting specific areas in the dry and wet season depending on the availability of water and the corresponding cycles of plant and animal life on which hunting and gathering bush tucker was reliant. As they travelled and hunted they would also burn areas of Country, generating a greater diversity of plant and animal life.

111581908952



Kumpupirntily

““If they dig him up, anybody, blackfella, whitefellas they’ll get killed! Ngayurnangalku still there [in Kumpupirntily]. No people gotta go come to this place. If they go there it’s one way! There’s a cannibal there. Don’t come to this place- you might get killed! They gonna eat you for lunch! Don’t go, keep away!!

Some people paint a rockhole, only rockhole. Nothing. I got story. Jukurrpa. Full up….”

– Billy Yunkurra Atkins

This painting depicts Yunkurra’s Country; Kumpupirntily (Lake Disappointment) in the Canning Stock Route area. This large warla (salt lake) is one of the most sacred and dangerous sites in the far Western Desert. This is where the Ngayurnangalku (cannibal beings) live beneath the lake, surfacing only to feed on human flesh.

 

111581908949



Kumpupirntily (Kumpupintily, Lake Disappointment)

“Ngayurnangalku [were] fighting, coming in from everywhere. They all come in here [at Kumpupirntily], all meet up here. Ngayurnangalku travelled through this Country going to Kumpupirntily. They made that Country. That Country got everything- parngarra (goanna), karlaya (emu), dog, kangaroo, all there. And Ngayurnangalku… they’re there too. 

[Now the] Ngayurnangalku cannibal [live] in a lake, Kumpupirntily. They live in the lake, in the salt lake, that mob. They belong to there. They been born there, they living there, sleeping there. Big mob! That’s his [their] Country, Kumpupirntily. This one the Ngayurnangalku camp, they all there. They got their own city underground. Nobody ever know. Just like a store, you can lock him up. They got a big room, have a rest. Underground, not far. All the man, women, little kids, they all stopping there, and the mummy Ngayurnangalku, big mummy. All those little babies are his [hers]. There’s a hill there. They been walk all along here, they been get inside, that’s their hole over there. They all come and get in there. They got plenty jara (shield), yirrkili (boomerang), they property for the Ngayurnangalku, they maparn (holding power for sorcery). They hit you and kill you. He got to feed. Ngayurnangalku chuck away their jara and yirrkili when they go home. Pujurrpa (red ochre) there – that for Ngayurnangalku, make himself red, when he dance. 

They chuck them [boomerangs] in the afternoon. Before the wind. If it’s a wind blowing, no good, they all go in, in that rock (hill). Parla-parla (type of lizard) is Ngayurnangalku mate. He’s for Kumpupirntily that one. That’s for Ngayurnangalku. When you see that lizard come out, like this (making a smacking sound with its mouth) you gotta get away, you gotta go long way. Don’t come desert. Don’t stop, Ngayurnangalku be get up. Parla-parla make him get up this mob, you gotta go away, run away.”

Ngayurnangalku still there [in Kumpupirntily]. They’re still alive. They walking in the night, they got to feed. They all staying there- don’t go there! You’ll lose your life. We’ll be dead, he’ll be alive. No people gotta go come to this place. If they go there it’s one way! There’s a cannibal there. Don’t come to this place- you might get killed! They gonna eat you for lunch! Don’t go, keep away! I been block him, tell all the miners to keep away. Cannibal gonna come out of the lake, kill you, knock you on the head and have a feed. If they dig him up, anybody, blackfella, whitefella, they’ll get killed! They’ll have a good feed!”

My grandfather went to Lake Disappointment chasing the dingo and he heard an old woman making a noise like howling, but she was crying for that dingo that my grandfather was spearing and chasing. So that woman grabbed his arm and put her long sharp fingernail through his wrist and paralysed him. She put her fingernail right through his wrist. Then that cannibal took him to a group of other cannibals, ready to cook him up to eat. They took him and had him there and they were singing him first. My grandfather is a strong maparn (magic) man. Lucky for him. He got out of there, because of his strength as a maparn.” 

 – Yunkurra Billy Atkins

Yunkurra’s Country encompasses one of the most important and dangerous sites in the Western Desert; Kumpupirntily (Kumpupintily, Lake Disappointment), home to the Ngayurnangalku (cannibal beings). Kumpupirntily, the Ngayurnangalku, and their associated Jukurrpa (Dreaming) form the subject for the majority of Yunkurra’s copious body of work.

Kumpupirntily is a stark, flat and unforgiving expanse of blinding salt lake surrounded by sand hills, located in the Little Sandy and Gibson Desert of Western Australia; “that Country hasn’t got any trees, it’s just open and flat” (Yunkurra Billy Atkins). Kumpupirntily translates to ‘bladder burst’; the lake was formed when the bladder of the Jila Kujarra (Two Snakes) burst here. Jila Kujarra is one of the key Jukurrpa narratives for the Martu. Though the story belongs to Warnman people, it is shared across the Western Desert with several other language groups. The narrative centres on the travels of two snakes as they are pursued by the Niminjarra, spiritual ancestors of the Warnman people. 

Later in the Jukurrpa period the Ngayurnangalku (ancestral cannibal beings) made Kumpupirntily their home, where they continue to remain today. For this reason Kumpupirntily is considered one of the most sacred and dangerous sites of the Western Desert. The Ngayurnangalku are fearsome ancestral cannibal beings said to resemble people in their appearance, except for their fangs and long curved knife like fingernails they use to catch and hold their human victims. Coming from Natawalu (Canning Stock Route Well 40) in the north, Mundiwinti (Mundawindi) in the west, and from the Country around Kiwirrkurra in the east, the Ngayurnangalku travelled across the desert, stopping near Puntawarri, at Jilukurru (Killagurra Springs, Canning Stock Route Well 17) and at Kupayura (Savory Creek) before finally reaching Kumpupirntily.

At Kumpupirntily, the Ngayurnangalku had a meeting to debate whether or not they would continue to live as cannibals, and eventually came to the decision to stop eating people. That night, a female baby cannibal was born. Following protocol, the baby also had to be consulted by the group. She determined that the Ngayurnangalku should continue to eat people. Her decision divided the group, and from this point the group from the east continued to live as ‘bad’ cannibals at Kumpupirntily, while the group from the west became ‘good’, thereafter consuming only animals. The ‘good’ Ngayurnangalku are kept safe by Nganyangu men, ‘bodyguards’ who formed a sandhill in the middle of the lake. The Nganyangu also help to protect people from the cannibal Ngayurnangalku, providing a safe path of passage through Kumpupirntily. 

The cannibal Ngayurnangalku continue to live beneath the crust of Kumpupirntily lake in an underground world lit by their own sun. They surface only to feed on human flesh, coming in and out of the world we see through a small hill that acts as a gateway between worlds; Yapu Maparnpa (magical hill). Stored with the Ngayurnangalku in their underground world is an arsenal of maparnpa (holding power for sorcery) weapons. Along with these weapons are deposits of pujurrpa that the Ngayurnangalku use to paint themselves with when they dance.

Several phenomena at Kumpupirntily act as a warning of the imminent appearance of the Ngayurnangalku; still skies, wilany (boomerang-shaped clouds), and the emergence of the parla-parla (type of lizard), smacking their mouths. The vigilance of the Martu as they travel in the Country around Kumpupirntily is so great that several other precautions are followed; fires are not lit, planes and helicopters are not flown directly over the area, and digging in the lake is strongly discouraged. All of these activities are believed to disturb the Ngayurnangalku, causing them to rise from their underground world. 

111581908933



Untitled

This work portrays an area known intimately to the artist, painted here in exquisite detail from memory. During the pujiman (traditional, desert dwelling) era 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), and different varieties of warta (trees, vegetation) were carefully observed and remembered. Today, this relationship with Country remains equally strong, despite the movement of Martu out of the desert and into remote Aboriginal Communities, towns and cities.

Also visible may be traces of life cycles based around kalyu (rain, water) and waru (fire). 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 visible 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. 

11151031737



Untitled

This work portrays an area known intimately to the artist, painted here in exquisite detail from memory. During the pujiman (traditional, desert dwelling) era 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), and different varieties of warta (trees, vegetation) were carefully observed and remembered. Today, this relationship with Country remains equally strong, despite the movement of Martu out of the desert and into remote Aboriginal Communities, towns and cities.

Also visible may be traces of life cycles based around kalyu (rain, water) and waru (fire). 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 visible 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. 

11151032195



Tuwa around Kunawarritji

Pija was born in the desert, near Kunawarritji Community (also known as Well 33 on the Canning Stock Route). This artwork illustrates the sandhills and the vegetation that grows in the desert around Kunawarritji.

11151032194



Tuwa around Kunawarritji

Pija was born in the desert, near Kunawarritji Community (also known as Well 33 on the Canning Stock Route). This artwork illustrates the sandhills and the vegetation that grows in the desert around Kunawarritji.